Scenen aus Goethes Faust: A performer's analysis. Page: 28
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common means of indicating the supernatural in 19th century German Romantic opera.29
The melodic motive first heard before Mephistopheles' entrance in Scene 1 (also heard
before Bdsers Geist's entrance in scene III) is played twice before Faust's first soliloquy and
portends the agonizing outcome from the haunting visitation of Sorge. The recurring "suffering"
motive is an example of Schumann using motives associated with evil spirits (Sorge),
Mephistopheles and human misery in several scenes providing the work with an overall sense of
The shifting harmonies in the orchestra underscore changes in the characters' emotional
states, portray dramatic events and delineate formal sections. Sorge's antagonizing of Faust is
depicted by Schumann's setting of a childlike incantation in Sorge's vocal line in B flat minor
"Wtirde mich kein Ohr vernehmen, mtisst' es doch im Herzen drdhnen" (Though no ear
perceives me, yet the heart feels a roaring) (see Figure 18).
.i eon sordid i
arco c ordi
r 1on sordin Cerea, .
Ark- rftr " /a. .
r t it ah'udemh kein Ohr vernehmen, msst es Aoch 1m Herze drhnen
Nimm dich i Acht und sprich kein Zauberwortl
. .. .. . . . .. .. .. . .
' ' ,-":..... > ;-___ _ _9...... ,-. - ,, . / = _
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Paoletti Jr., Karl. Scenen aus Goethes Faust: A performer's analysis., dissertation, August 2008; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc9053/m1/34/: accessed September 19, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .