If you want to grasp the profound connection between music and literature, look no further than the closing movement of Gustav Mahler’s Eighth Symphony. This powerful finale features a chorus proclaiming that the Eternal Feminine will elevate us, echoing the conclusion of Goethe’s “Faust.” Mahler envisioned this moment as a cosmic symphony, stating, “Try to imagine the whole universe beginning to ring and resound. There are no longer human voices, but planets and suns revolving.” He considered it a gift to his nation and a source of immense joy.
Interestingly, Mahler was a Catholic, while Goethe was something of a pagan, although distinctly Protestant. In “Faust,” the narrative culminates in an emotional climax as the aged Faust, after years of collusion with the Devil, finds redemption through a heavenly choir of women, including the young Gretchen—whom he seduced and ultimately led to ruin. It’s striking that Mahler’s chorus incorporates Catholic imagery, especially since many choir members represent saints.
Mahler’s Eighth Symphony premiered on September 12, 1910, roughly 80 years after the release of the second part of “Faust.” This monumental work is just one among many musical interpretations of Goethe’s literary epic.
Goethe spent over 60 years creating “Faust,” beginning his journey as a student in Strasbourg and wrapping it up after he turned 81. Initially inspired by the old Faust legend—a tale of a man who sells his soul to the Devil for knowledge and youth—Goethe’s narrative underwent significant transformation. He added the tragic subplot of Gretchen, involving her unwanted pregnancy, the murder of her child, and ultimately, her redemption. The harsh realities of German law concerning women in such dire situations amplify the weight of her plight.
For many, the first brush with the Faust legacy comes through the Tintin comic “Les Bijoux de la Castafiore,” where the diva Bianca Castafiore fervently sings the Jewel Song from Charles Gounod’s opera. This scene captures the essence of a teenage girl discovering her bedroom filled with jewels—gifts from the Devil intended to mesmerize her.
Gounod’s opera, premiered in 1859, is arguably the most approachable operatic interpretation of “Faust,” although it diverges notably from Goethe’s original intentions. In Gounod’s version, Faust is cast as a charming rogue, whereas Goethe portrays him as a complex figure caught between the pursuits of scientific discovery and moral dilemmas. Gounod simplifies the story into a Catholic morality tale, depicting the flawed hero as facing divine punishment while the innocent Marguerite ultimately finds salvation.
Berlioz’s “Damnation of Faust,” composed in 1845, portrays the tragic downfall of a human soul but lacks Goethe’s nuanced examination of morality. Unlike Goethe’s Faust, who doesn’t explicitly sell his soul but instead wagers that the Devil can claim him only if he tries to freeze time or fails to seize the joy of the moment, Berlitz’s rendition offers a more straightforward narrative. By the tale’s conclusion, Faust has traversed through history, experiencing early modern dilemmas surrounding technology and spirituality.
Interestingly, Goethe proposed an early theory of evolution emphasizing the emergence of conscious life forms from nature rather than mechanics. He described his own work as “incommensurable,” and among the most significant musical interpretations of “Faust,” Franz Liszt’s pieces stand out—especially his “Faust Symphony” and the enigmatic B-Minor Piano Sonata.
Liszt drew inspiration from Berlioz, who first spotlighted “Faust” as ripe for musical interpretation. Liszt grasped the intricacies of Goethe’s narrative and its thematic relevance to the intellectual climate of the 19th century. His symphony brings to life the stories of Faust, Gretchen, and Mephistopheles, but it’s the B-Minor Sonata that perhaps reveals the deepest insights into Faust’s character.
Some interpret this Sonata as a self-portrait of Liszt, reflecting a shared struggle with divided existence. Mephistopheles is portrayed not merely as an embodiment of evil but as a representation of our own darker impulses. In a striking monologue, Faust comes to realize that humanity is an intrinsic part of nature, contrasting the detached figure described by Kant.
As I wrap up an extensive project exploring Goethe and his Faustian life, I find myself continually drawn to Liszt’s B-Minor Sonata, especially through Stephen Hough’s breathtaking interpretation. Each listening session unveils emotional truths that words often fail to capture—much like the experience of reading “Faust” itself, a journey that Goethe described as enigmatic and mysterious.
Stephen Hough is set to perform Liszt’s B-Minor Sonata on September 20 at Wigmore Hall in London. AN Wilson’s book, “Goethe: His Faustian Life,” will be released by Bloomsbury Continuum on September 26.
