Gounod, Charles
Faust
Opera in five acts
Version opéra
Edition no.
BA 8713-01
ISMN
9790006537945
Volume / Series
L'Opéra français
Editor
Prévost, Paul
Instrumentation of the work
Soloists, Choir, Orchestra
Orchestral scoring
2S-solo,Mez-solo,T-solo,2Bar-solo,B-solo/GemCh(SSTTBB)/2(I auch Picc),2(I auch Ehn),2(I auch Bkl),2,-4,2Cnt à pist(auch 2 Trp),3,Ophécl,(Tb)-Timp,Perk-4 Hrf, Org-Str
Language(s) of work
French
Language(s) of text
French, English, German
Product format
Complete edition, Score, Urtext edition
Binding
Linen
Pages / Format
XCI, 348/IX, 962 S. - 33,0 x 27,0 cm
“Faust” stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe’s drama, the work was given a deeply personal interpretation.

With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod’s lifetime, completely sung versions.

The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.

The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714).

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Press reviews
„Der optisch hochwertig gestaltete Doppelband überzeugt nicht nur durch die Klarheit des kritisch Edierten (Text wie Musik) und die Detailtiefe in der Darstellung, sondern auch durch das Bestreben, komplexe Sachverhalte ggf. graphisch aufzubereiten … Ihrem Anspruch, ,den wissenschaftlichen Anforderungen einer kritischen Edition wie den praktischen Bedürfnissen der Bühnen und der Ausführenden‘ zu genügen, wird die Ausgabe vollauf gerecht, und es ist zu hoffen, dass sie den inzwischen wieder recht lebhaften Diskurs um die französische Oper des 19. Jahrhunderts weiter befördern und fruchten wird.“
(Adrian Kech, Die Musikforschung 4-2018)
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