Petr Eben composed a nine-movement suite from his incidental music to Goethe’s “Faust” for the Vienna Burgtheater (1976), and three years later, arranged the music for a solo organ. Through the way it is set to music, crucial scenes of the tragedy are connected and newly interlinked in a compelling cyclical context. The treatment of the organ is curious, appearing here not only in all its sonic dignity, but also as its own distorted image, as a barrel organ or even an orchestrion. In between, Max Hopp reads excerpts from “Faust” to accompany each of the ensuing movements.