[[Listen]] [[MusicXML]]
and also later in this form—
[[Listen]] [[MusicXML]]
Towards the close of the movement there is a subtle reference to the chivalrous theme, as follows—
[[Listen]] [[MusicXML]]
Much of the appeal of the music depends upon the orchestration which throughout is of remarkable beauty.
In the final movement, entitled Mephistopheles, there are a few independent themes which portray the malign influence of the spirit of Evil—the movement is marked Allegro vivace ironico!—but most of the material is a transformation of the Faust themes which are here burlesqued, parodied; as if all the noble aspirations of Faust were being mocked and set at naught. This treatment is a perfectly logical result of the correspondence, for which Liszt was striving, between the music and the spirit of the underlying drama. As for the final impressiveness of his artistic message, the composer may well have felt that the effect would be indefinite without the specific meaning which words alone can give. For the style is very subjective throughout; that is, if the hearer is in a responsive condition, an effect is produced on his imagination—otherwise, not. To close the work, therefore, in the most moving and dignified manner, Liszt, with unerring instinct and following the precedent of Beethoven in the Ninth Symphony, introduces a chorus of men's voices—marked Andante Mistico—which intones the famous stanza "Alles Vergängliche"[248] at the close of the second part of Faust; while, above this chorus, a solo tenor proclaims the motto of the redeeming love of woman, "Das ewig Weibliche"—a sentiment so dear to the German[249] mind and one that plays such an important part in the music dramas of Wagner. A dramatic and musical connection between the movements is established by using, for this solo part, the melody (intensified by augmentation) which in the second movement typified the love and charm of Gretchen, e.g.