Schumann was a voluminous composer of choral music, both large
and small. Among his choral works are several giant cantatas,
the best-known of which is Paradise and the Peri, followed
by the Scenes from Goethe’s Faust. As the title indicates,
Schumann, in the latter work, sets several individual episodes
from Goethe’s poem rather than elaborating on a particular scene
as do Liszt and Mahler, or creating a more continuous narrative,
like Berlioz and Busoni. Nevertheless, through use of thematic
and rhythmic variation the composer welds together a piece that
is far less episodic than you might think.
Schumann wrote Scenes from Goethe’s Faust in spurts between
1844 and 1853. He wrote Part 3 in 1844 and 1847, the Overture
in 1853 and the other sections in between. The work is divided
into three parts, with the first approximating the events portrayed
in Gounod’s Faust. The second deals with Faust’s confrontation
with the Evil Spirits, his efforts to better mankind, and his
death. The third part sets the final scene of Goethe’s poem,
with Faust ascending to heaven. Of these three parts the most
interesting is the second. Here Schumann’s sense of drama -
not always his strongest point - combines with his rhythmic
and even orchestral skills to produce a unified and inspiring
picture that has to count as one of the highpoints of his output.
Part 3 is also very moving, but Schumann obviously did not feel
up to providing an overwhelming finale à la Liszt or Mahler;
instead he opted for something gentler.
As can be seen from the above this is a work that requires large
forces, including seven soloists, each taking multiple roles.
Christine Libor is appropriately plaintive as Gretchen, but
Iwona Hosse is more impressive as both the spirit of Worry and
as the Magna Peccatrix. Anna Lubanska is creditable as the spirit
of Want. Among the men the standout is Andrew Gangestad who
manages to make Mephistopheles and Pater Profundus sound as
if they were being portrayed by different singers. He is especially
impressive in the Midnight scene of Part 2, as is Jaakko Kortekangas
who plays Faust. Kortekangas is also good in his other roles
of Doctor Marianus and Pater Seraphicus. I was not especially
impressed by the choral work on this recording, but the Warsaw
Philharmonic displays a great range of emotion in their performance
and Antoni Wit has complete and sometimes inspired control over
all his forces.
There are a number of fine recordings of this work, including
those by Boulez, Abbado and Britten, as well as the recording
by Klee, notable for its singers (see
review). Overall, the present recording may not be up to
some of these others, but it does have committed performances
by the soloists and excellent orchestral playing to recommend
it.
William Kreindler
Iwona Hosse (soprano)
