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.

0:00 – I. Eintritt (Entry) // Martin Helmchen
2:00 – II. Jäger auf der Lauer (Hunters on the lookout) // Maria João Pires
3:16 – III. Einsame Blumen (Lonely Flowers) // Sviatoslav Richter
5:17 – IV. Verrufene Stelle (Haunted Place) // Wilhelm Kempff
8:35 – V. Freundliche Landschaft (Friendly Landscape) // Martin Helmchen
9:48 – VI. Herberge (Wayside Inn) // Zoltán Fejérvári
11:52 – VII. Vogel als Prophet (Bird as Prophet) // Mitsuko Uchida
15:30 – VIII. Jagdlied (Hunting Song) // Abdel Rahman El Bacha
17:58 – IX. Abschied (Farewell) // Florian Uhlig

"The Forest Scenes were composed in December 1848 and January 1849. They are pictures of manifold character, but, whether they print forest pleasure or forest seriousness, sunlight or deepest shadows, the merry uproar of the chase, or quiet solitude, they are completely full of the
mysteriously captivating magic of the forest. As regards the superscriptions it should be remembered that by them Schumann sought merely to indicate to the player's fancy the associations of ideas most closely corresponding to the fundamental mood of the composition, but that he did not compose with the express intention of depicting any definite object, as for instance, a "Pleasant
Landscape". Accidental impressions of an external nature, and associations of ideas, naturally cooperate in the selection of supplemental designations of this sort; these, however, the player is at liberty to replace by any others which may seem to him more appropriate. This superscription seems very happily chosen; one sees the cheerfully advancing wanderer of the first part surrounded in the second by the rustling sounds of the forest-thickets."
– Alexis Hollander, 1887

"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."
– Robert Schumann

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