But here I have to add that one would not really know what characters to be listening for without words to tell them. Musical tellings of the story of Faust are in some way dependent upon words. The choice of name and of topic comes loaded and incites certain expectations. Composing on Faust demands music that will run the gamut from innocent Marguerite to the nefarious Mephisto. And when hearing a Mephisto movement one has certain expectations on how the devil should appear in music.
Music can portray how evil is felt, how it works on the mind and soul of a man.
Liszt, in his Faust Symphony, makes full use of this idea. Without having been previously informed of the subj ect of his symphony, one could hardly be expected to equate his themes with the characters of Faust. But once we know his devilish intention, it makes the listening all the more interesting. Hearing Mephisto' s warping influence upon the themes of Faust, and his inability to affect Marguerite's theme, tells the story on a deep emotional and spiritual level that words would be hard pressed to illuminate. A familiarity with the details of the story and its characters enhances the musical study.