Waldszenen (Forest Scenes), Op. 82, is a set of nine short solo piano pieces composed by Robert Schumann in 1848–1849, first published in 1850–1851 in Leipzig by Bartholf Senff.

On the set, Schumann wrote: "The titles for pieces of music, since they again have come into favor in our day, have been censured here and there, and it has been said that 'good music needs no sign-post.' Certainly not, but neither does a title rob it of its value; and the composer, by adding one, at least prevents a complete misunderstanding of the character of his music. What is important is that such a verbal heading should be significant and apt. It may be considered the test of the general level of the composer's education."

It differs from Kinderszenen (Scenes from Childhood), Op. 15, through a stronger symmetry in its formal structure and a closer tonal connection due to the restriction to a few related keys. The piece Vogel als Prophet (Bird as Prophet) achieved particular fame, which "has been at home in the concert hall as a test of pianistic touch since Anton Rubinstein". Dedication: Composed for and dedicated to Fräulein Annette Preusser.

Movements

The nine movements are shown in the table below.

• 1. Eintritt (Entry)
  Tempo: Nicht zu schnell – Not too fast
  Duration: 2:10
  Key Signature: B♭ major

• 2. Jäger auf der Lauer (Hunters on the Lookout)
  Tempo: Höchst lebhaft – Very lively
  Duration: 1:18
  Key Signature: D minor

• 3. Einsame Blumen (Lonely Flowers)
  Tempo: Einfach – Simple
  Duration: 2:17
  Key Signature: B♭ major

• 4. Verrufene Stelle (Haunted Place)
  Tempo: Ziemlich langsam – Pretty slow
  Duration: 3:07
  Key Signature: D minor

• 5. Freundliche Landschaft (Friendly Landscape)
  Tempo: Schnell – Fast
  Duration: 1:07
  Key Signature: B♭ major

• 6. Herberge (Wayside Inn)
  Tempo: Mäßig – Moderate
  Duration: 2:02
  Key Signature: E♭ major

• 7. Vogel als Prophet (Bird as Prophet)
  Tempo: Langsam. Sehr zart – Slowly. Very tender
  Duration: 3:20
  Key Signature: G minor

• 8. Jagdlied (Hunting Song)
  Tempo: Rasch, kräftig – Fast, strong
  Duration: 2:29
  Key Signature: E♭ major

• 9. Abschied (Farewell)
  Tempo: Nicht schnell – Not fast
  Duration: 3:29
  Key Signature: B♭ major

Symmetries

The sequence of the pieces reveals an endeavor towards a largely symmetrical architecture for the cycle. The first piece (Eintritt - Entry) corresponds with the last (Abschied - Farewell); the second (Jäger auf der Lauer - Hunter at His Ambush) corresponds with the second to last (Jagdlied - Hunting Song). The third piece (Einsame Blumen - Lonely Flowers) is also thematically related to the third to last (Vogel als Prophet); flowers and bird are both representatives of animate nature. Finally, Die Verrufene Stelle (The Accursed Place) corresponds contrastingly as an uncanny location to the cozy Herberge (Inn). All these pieces cluster around the fifth piece (Freundliche Landschaft - Friendly Landscape) as the axis of symmetry.

Keys

The main key of B-flat major dominates the beginning, middle, and end of the cycle. Einsame Blumenalso uses B-flat major, whereas the thematically corresponding Vogel als Prophet (likely due to its more mysterious character) is in the parallel key of G minor. It is also noteworthy that the two uncanny pieces (Jäger auf der Lauer and Verrufene Stelle) are in D minor, while their positive counterparts (Jagdlied and Herberge) are both in E-flat major.

Literary References

The fourth piece, Verrufene Stelle, is preceded by the following lines of poetry by Friedrich Hebbel as a motto:

The flowers, however high they grow,
Are pale here, like death;
Only one in the middle
Stands there, in dark red.

It has it not from the sun:
It never felt its glowing heat;
It has it from the earth,
And that drank human blood.

These verses are one of a total of seven literary mottos that Schumann noted for the individual pieces on the last page of his 1850 engraver's copy. Three of them come from the collection Waldlieder (Forest Songs) by Gustav Pfarrius. Since this book of poems only appeared in 1850 and some of the piano pieces were already composed by the end of 1849, it can be concluded that Schumann did not link literary references to his pieces from the outset, but rather added them later—following a common practice at the time. However, since he held a rather reserved to negative attitude towards program music (cf. Kinderszenen: Relationship to Program Music), he must have had reservations by the time of printing about moving his compositions too close to program music through excessive literary loading. Therefore, for the first edition of December 1850, almost all mottos were removed, except for the one cited above.

Source: https://en.wikipedia.org/wiki/Waldszenen / License: CC BY-SA 4.0