![]() ![]() ![]() The central episode, which sees Faust as a magician at the court of Parma during the celebrations for the wedding of the duke and duchess, is in fact surrounded by other episodes which, as antecedents or precedents, are placed in a mirror image according to analogies and symbolic references and musical. Thus was born a work with a strongly symbolic value also accentuated by the formal arc articulation used, which includes an initial symphony, two recited interventions, two prologues, a scenic interlude and three paintings. Deeming it impossible a direct comparison with the most illustrious literary source - Goethe's Faust - Busoni preferred to examine several sources for the preparation of the libretto including the puppet shows of the German tradition, the drama The Tragical History of Doctor Faustus by Christopher Marlowe, obviously without neglecting the great Goethe. Like many artists, Busoni also idealized the figure of Faust and for over a decade he devoted himself to the composition of Doktor Faust, his last work which remained unfinished at his death (it was later completed by his pupil and collaborator Philipp Jarnach). ![]()
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