Digul Edition PetersNo. For the German legend this poem is based on, see Erlking. From Wikipedia, the free encyclopedia. Ballads Poetry by Johann Wolfgang von Goethe poems compositions compositions Musical settings of poems by Johann Wolfgang von Goethe Poems about death Songs about death Songs about children Songs about royalty Songs about fictional male characters. Schubert, Liszt and Brahms.
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The Erlking by Albert Sterner, ca. It was originally composed by Goethe as part of a Singspiel entitled Die Fischerin. The poem has been used as the text for Lieder art songs for voice and piano by many classical composers.
Summary An anxious young boy is being carried home at night by his father on horseback. As the poem unfolds, the son seems to see and hear beings his father does not; the father asserts reassuringly naturalistic explanations for what the child sees — a wisp of fog, rustling leaves, shimmering willows.
Finally the child shrieks that he has been attacked. The father makes faster for the Hof. There he recognizes that the boy is dead. Beethoven attempted to set it to music but abandoned the effort; his sketch however was complete enough to be published in a completion by Reinhold Becker You can download the clip or download a player to play the clip in your browser. Ernestine Schumann-Heink Problems playing this file? See media help.
Schubert revised the song three times before publishing his fourth version in as his Opus 1; it was cataloged by Otto Erich Deutsch as D. The four characters in the song — narrator, father, son, and the Erlking — are usually all sung by a single vocalist; occasionally, however, the work is performed by four individual vocalists or three, with one taking the parts of both the narrator and the Erlking.
The Narrator lies in the middle range and is in minor. The Father lies in the low range and sings both in minor mode and major. The Son lies in a high range, also in minor. The Erlking lines are typically sung in a softer dynamic. Meanwhile the bass adds a horror theme to the piece. These motifs continue throughout. Near the very end of the piece the music quickens, as the father desperately tries to spur his horse to go faster, and then slows down, as he arrives.
The piece is regarded as extremely challenging to perform due to the vocal characterization required of the vocalist as well as its difficult accompaniment, involving the playing of rapidly repeated chords and octaves to create the drama and urgency in the poetry.
There is also a transcription for solo violin by the violin virtuoso Heinrich Wilhelm Ernst, considered one of the most technically difficult pieces to play for the instrument. Collected with it were Op. Inspired by a German translation of Scottish border ballads, Loewe set several poems with an elvish theme; but although all three of Op.
The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano.
In addition to an unusual sense of motion this creates a very flexible template for the stresses in the words to fall correctly within the rhythmic structure. These two themes also evoke the rising and moaning of the wind.
As the piece progresses, the first in the groups of three quavers are dotted to create a breathless pace, which then forms a bass figure in the piano driving through to the final crisis. The last words, war tot, leap from the lower dominant to the sharpened third of the home key, this time not to the major but to a diminished chord, which settles chromatically through the home key in the major and then to the minor.
References Johann Wolfgang von Goethe The Poems of Goethe. Wildside Press. Snyder, Lawrence German Poetry in Song. Berkeley: Fallen Leaf Press. Das deutsche Lied seit Mozart. Loewe, Carl. Friedlaender, Max; Moser, Hans Joachim, eds. Leipzig: Edition Peters. External links.
Schubert-Liszt – Erlkönig (Elf King) – Wang, Piano
Kigall These two themes also evoke the rising and moaning of the wind. This is the second and most commonly played transcription of the song that Liszt made, the first version probably dating to around Liszt does not loosen his grip on the tension either, even when the mood turns warmer for brief periods in the middle part of the piece. The left hand of the piano part introduces a low-register erlkonigg composed of rising scale in triplets and a falling arpeggio. Jazz Latin New Age. The four characters in the song — narrator, father, son, and the Erlking — are all sung by a single vocalist. Go Pro Upload Log In. The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano.