Chapter 35

THE FAUST

SYMPHONY

This work, although embodying Liszt’s favorite ideas of dra-
matic characterization and transformation of theme as found in
the Symphonic Poems, more nearly resembles the ordinary sym-
phony in that it is in three distinct movements—with pauses
between—which stand, respectively, for the three chief char-
acters in Goethe’s drama: Faust, Gretchen and Mephistophe-
les. In theFaustSymphony the principle of transformation or
metamorphosis of themes is of such importance that it may be
defined as their rhythmic, melodic and harmonic modification
for the purpose of changing the meaning to correspond with a
modification in the characters for which they stand. The first
movement sets before us five themes illustrative of the most
prominent traits in the complex nature of Faust; the three most
important being (a) typical of brooding, speculative inquiry, (b)
the longing of love, (c) the enthusiasm and chivalry of Faust,e.g.

[Music: (a)]

[Music: (b)]

[Music: (c)]

The development of these themes is entirely free, the musical
texture being held together by a general application of the prin-
ciple of contrast and by a logical key-scheme. The second move-