Wie deutet man Musik? The Father lies in the low range and sings both in minor mode and major. 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. Schubert: Der Erlkönig. The Son lies in a high range, also in minor. Hans Werner Henze created an Orchesterfantasie über Goethes Gedicht und Schuberts Opus 1 aus dem Ballett “Le fils de l’air”. Finally the child shrieks that he has been attacked. “Erlkönig” (also called “Der Erlkönig“) is a poem by Johann Wolfgang von Goethe. 1, No. However, Schubert begins with a root position bII and instead of leading the e flat down to the d flat, in m. 144, he leads it up to the f flat. 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. 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. The Erlking lines are typically sung in a softer dynamic. 3 and composed in 1817–18, in the lifetime of the poem’s author and also of Schubert, whose version Loewe did not then know. 1, Edward (1818; a translation of the Scottish ballad), and No. Eine Analyse des formalen Aufbaus, der musikalischen Mittel und der Rhythmik gibt (teilweise) Aufschluss über die Absichten des Komponisten. An anxious young boy is being carried home at night by his father on horseback. 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). BACKGROUND "Der Erlkönig" was one of Schubert's first published work written at the age of 18. LISTENING AND HARMONIC ANALYSIS. “Wer reitet so spät durch Nacht und Wind?”, Songwriter Josh Ritter performs his translation of the poem, titled “The Oak King”, “Erlkönig” at Emily Ezust’s Lied and Art Song Texts Page, Full score and MIDI file of Schubert’s setting of “Erlkönig”. 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 (1897). “Erlkönig” starts with the piano rapidly playing triplets to create a sense of urgency and simulate the horse’s galloping. Loewe’s implication is that the Erlking has no substance, but merely exists in the child’s fevered imagination. These two themes also evoke the rising and moaning of the wind. April 2020 A linguistic and musical analysis of “Erlkönig” by Franz Schubert as interpretation guide for singers „Der Erlkönig” is a famous ballad by the German poet Johann Wolfgang von Goethe, written in 1778 as part of a singspiel. Meanwhile the bass adds a horror theme to the piece. The Narrator lies in the middle range and is in minor. Erlkönig is a ballad penned by Johann von Goethe.Before attempting to understand the song, you should be familiar with the ballad. 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. Niels Gade’s cantata Elverskud opus 30 (1854, text by Chr. To what sort of home is not spelled out; German Hof  has a rather broad meaning of “yard,” “courtyard,” “farm,” or (royal) “court.” The lack of specificity of the father’s social position allows the reader to imagine the details. The Erlking’s vocal line, in major, undulates up and down to arpeggiated accompaniment: providing the only break from the ostinato bass triplets in the accompaniment until the boy’s death. It was originally composed by Goethe as part of a 1782 Singspiel entitled Die Fischerin. [citation needed], The song was transcribed for solo piano by Franz Liszt, and the piano accompaniment was orchestrated by Hector Berlioz. 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.

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