declamatory vocal part is also infused with rhythmic energy derived from the dotted rhythms and
repeating eighth notes (see Figure 15).
Flbten.
Hoboen.
Clarinetten in A.
Fagotte.
Ventilhbirner in E.
Ventiltrompeten in E.
Violine IL
Violine II.
Bratsche.
FAUST.
Violoncell.
Contrabass.
Figure 15: "Sonnenai
,,Lebhaft. J=+.e
R.....N. .
-4i 1 -
4I .. .. .
...
OW} i- .. .. ....No . . . .:
wr ,- 9 P9.. .
......R
Ul Oh+, . .. - .. i .. .
P '
So ist es al_ so, w enseh _ il Hof-fen dem hoech-stenWuns<'h
I X ts ri9 t 21" I IfmI
ill i d! m " . - ... .
ufgang," mm 335-339.
As Faust sings "So bleibe den die Sonne mir im Rticken!" (So then let the sun stay behind my
back!) Schumann crafts a new heroic sounding melody again imbuing the vocal line with dotted
rhythms to express Faust's triumphant resolve to strive. The upward leap of a perfect fifth from
tonic to dominant in the vocal line, the march-like rhythm in the orchestration, and the heroic
melodic motive portray Faust's will to triumph over adversity.
Tempo, key changes, and rhythmic energy in the orchestration and vocal part depict
Faust's agitation and his impetuous attitude at not being able to commune with the sun directly.
After Faust is temporarily blinded by the overpowering brightness of the sun he turns
away from the sun and notices the rainbow shimmering in the waterfall. In Scene 4 there are two
important images that Schumann illustrates in the orchestration. The first image depicted was the
24
