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- Die Szenen aus Goethes Faust von Robert Schumann sind ein umfangreiches, dreiteiliges Werk für Solostimmen, Chor und Orchester mit langwieriger Entstehungsgeschichte, das erst nach dem Tod des Komponisten vollständig zur Uraufführung kam. (de)
- Szenen aus Goethes Faust (Scènes du Faust de Goethe) est un oratorio profane en trois parties et sept scènes pour solistes, chœur et orchestre, écrit par le compositeur Robert Schumann entre 1844 et 1853. Elles sont considérées comme le sommet de la musique de scène du musicien. (fr)
- Scenes from Goethe's Faust (Szenen aus Goethes Faust) is a musical-theatrical work by composer Robert Schumann. The work has been described as the height of his accomplishments in the realm of dramatic music. The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one baritone, and one bass) is the usual number for a performance. Schumann never saw all three parts of the work performed in the same concert, or published together. Eric Sams comments 'There is no coherence in the orchestration, which audibly dates from two different periods (hand-horns in Part III, valve-horns elsewhere)', leading him to conclude that Schumann did not conceive the work as a whole, although late nineteenth-century ideas of performance mean that in the modern era the piece is predominantly heard with all three parts. Schumann's work on what he labeled an oratorio began in 1842. This was just over a decade after the death of Johann Wolfgang von Goethe, who completed Part Two of the dramatic poem Faust in his final year. Many contemporary readers of Faust found Goethe's epic poem daunting and difficult to grasp. Goethe himself declared only Mozart fit to write the music for it (though Mozart died in 1791, almost 20 years prior to the completion of Part One of Faust). Schumann explained the weight of the task before him in an 1845 letter to Felix Mendelssohn: "[A]ny composer would not only be judged by his treatment of one of the seminal and most-widely acclaimed works in German literature, but would also be setting himself up to be compared to Mozart." Yet despite Schumann's expressed reservations about the work, it has been labeled his "magnum opus." Schumann is "[d]eeply sensitive to the all-inclusiveness of Goethe's drama[.]" From the work's dark and tense overture, to its elegant and tranquil conclusion, Schumann opens wide "a manifold musical world" that coherently draws together elements of "lied, horror opera, grand opera, oratorio, and church music." Schumann's music suggests the struggle between good and evil at the heart of Goethe's work, as well as Faust's tumultuous search for enlightenment and peace. After the overture, the music depicts Faust's wooing of Gretchen. For Gretchen's story, Schumann employs operatic music, beginning with a love duet, proceeding to Gretchen's passionate and desperate aria, and concluding with a church scene. The second part of the work opens with stark contrast: on the one hand, the lively, fresh music of Ariel and the spirits calls Faust to savor the beauties of nature; on the other hand, in the scene following, Schumann's restless orchestration brings to the fore Faust's delusions upon hearing of a new world being created and its rapturous promise of an everlasting present. The final scenes, drawing the work to its placid yet unsettled conclusion, hold some of Schumann's best choral writing. Scenes from Goethe's Faust has often been overlooked within Schumann's impressive oeuvre, but has enjoyed a resurgence since the 1970s. The piece has been deemed among Schumann's most moving works, and a pinnacle of his quintessential Romantic concern with the extra-musical (and especially literary) potential of musical expression. (en)
- 『ゲーテのファウストからの情景』（ゲーテのファウストからのじょうけい、ドイツ語: Szenen aus Goethes Faust）は、19世紀ドイツ・ロマン派の作曲家ロベルト・シューマン（1810年 - 1856年）が作曲した独唱、混声合唱、児童合唱、管弦楽のための音楽作品。作品番号は付けられておらず、「WoO 3」とされている。 序曲と全3部からなり、演奏時間は約1時間55分（序曲約8分、第1部約17分、第2部約45分、第3部約45分）。ドイツの文豪ヨハン・ヴォルフガング・フォン・ゲーテ（1749年 - 1832年）の劇詩『ファウスト』（第一部および第二部）を題材として、1844年から1853年にかけて作曲された。 シューマンの合唱曲には、オラトリオ『楽園とペリ』（作品50、1843年作曲）や劇付随音楽『マンフレッド』（作品115、1848年 - 1849年作曲）といった管弦楽を伴う大規模作品があるが、中でもこの『ゲーテのファウストからの情景』は、編成の大きさ、10年間という作曲期間に作曲家の精力が最も集中された点において、シューマンの全創作のうちでも畢生の大作といえるものとなった。 (ja)
- Scene dal 'Faust' di Goethe (Szenen aus Goethes Faust) è un oratorio profano di Robert Schumann composto tra il 1844 e il 1853 su testo tratto dal Faust di Johann Wolfgang von Goethe. È reputato una delle più alte realizzazioni del compositore nel genere della musica drammatica. (it)
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- Die Szenen aus Goethes Faust von Robert Schumann sind ein umfangreiches, dreiteiliges Werk für Solostimmen, Chor und Orchester mit langwieriger Entstehungsgeschichte, das erst nach dem Tod des Komponisten vollständig zur Uraufführung kam. (de)
- Szenen aus Goethes Faust (Scènes du Faust de Goethe) est un oratorio profane en trois parties et sept scènes pour solistes, chœur et orchestre, écrit par le compositeur Robert Schumann entre 1844 et 1853. Elles sont considérées comme le sommet de la musique de scène du musicien. (fr)
- 『ゲーテのファウストからの情景』（ゲーテのファウストからのじょうけい、ドイツ語: Szenen aus Goethes Faust）は、19世紀ドイツ・ロマン派の作曲家ロベルト・シューマン（1810年 - 1856年）が作曲した独唱、混声合唱、児童合唱、管弦楽のための音楽作品。作品番号は付けられておらず、「WoO 3」とされている。 序曲と全3部からなり、演奏時間は約1時間55分（序曲約8分、第1部約17分、第2部約45分、第3部約45分）。ドイツの文豪ヨハン・ヴォルフガング・フォン・ゲーテ（1749年 - 1832年）の劇詩『ファウスト』（第一部および第二部）を題材として、1844年から1853年にかけて作曲された。 シューマンの合唱曲には、オラトリオ『楽園とペリ』（作品50、1843年作曲）や劇付随音楽『マンフレッド』（作品115、1848年 - 1849年作曲）といった管弦楽を伴う大規模作品があるが、中でもこの『ゲーテのファウストからの情景』は、編成の大きさ、10年間という作曲期間に作曲家の精力が最も集中された点において、シューマンの全創作のうちでも畢生の大作といえるものとなった。 (ja)
- Scene dal 'Faust' di Goethe (Szenen aus Goethes Faust) è un oratorio profano di Robert Schumann composto tra il 1844 e il 1853 su testo tratto dal Faust di Johann Wolfgang von Goethe. È reputato una delle più alte realizzazioni del compositore nel genere della musica drammatica. (it)
- Scenes from Goethe's Faust (Szenen aus Goethes Faust) is a musical-theatrical work by composer Robert Schumann. The work has been described as the height of his accomplishments in the realm of dramatic music. The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one baritone, and one bass) is the usual number for a performance. Schumann never saw all three parts of the work performed in the same concert, or published together. Eric Sams comments 'There is no coherence in the orchestration, which audibly dates from two different periods (hand-horns in Part III, valve-horns elsewhere)', leading him to conclude th (en)
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