– The Elf-king's daughters in the gloomy place? [citation needed], The four characters in the song – narrator, father, son, and the Erlking – are all sung by a single vocalist. "Erlkönig" is through-composed; although the melodic motives recur, the harmonic structure is constantly changing and the piece modulates within characters. Be calm, stay calm, my child; The father now gallops, with terror half wild, Schubert places each character largely in a different vocal range, and each has his own rhythmic nuances; in addition, most singers endeavor to use a different vocal coloration for each part. "I love you, your beautiful form excites me; Who rides there so late through the night dark and drear? – He holdeth the boy tightly clasp'd in his arm, 1 (D. 328), y adaptaciones musicales (al menos 22), de artistas como Johann Friedrich Reichardt, Carl Friedrich Zelter, Robert Schumann, Hugo Wolf, Ludwig Spohr y Johann Carl Gottfried Löwe. El poema ha sido usado como texto para lieder por muchos compositores, siendo el más famoso el de Franz Schubert, en su Erlkönig op. Carl Loewe's setting was published as Op. Franz Schubert compuso su lied Erlkönig en 1815 con 18 años para voz y piano, con el texto del poema de Johann Wolfgang von Goethe Der Erlkönig.Schubert revisó su obra tres veces antes de publicar su cuarta versión en 1821 como su Opus 1, que después de su muerte fue catalogada como D.328, usando el sistema de Otto Erich Deutsch. An anxious young boy is being carried at night by his father on horseback. The Erlkönig's nature has been the subject of some debate. In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure. [1] The poem has been set to music by several composers, most notably by Franz Schubert. K. F. Molbech [da]) was published in translation as Erlkönigs Tochter. – The narrator's phrases are echoed by the voices of father and son, the father taking up the deeper, rising phrase, and the son a lightly undulating, answering theme around the dominant fifth. Le personnage de l'Erlkönig, très souvent évoqué dans la littérature allemande, y est décrit comme une créature maléfique qui hante les forêts et entraîne les voyageurs vers la mort. Und bist du nicht willig, so brauch' ich Gewalt." To what sort of home is not spelled out; German Hofhas 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. Mein Vater, mein Vater, und siehst du nicht dort Goethe's poem then took on a life of its own, inspiring the Romantic concept of the Erlking. [5], Franz Schubert composed his Lied "Erlkönig" for solo voice and piano at the age of 17 or 18 in 1815, setting text from Goethe's poem. Er hat den Knaben wohl in dem Arm, Look, father, the Erl-King is close by our side! He has the boy well in his arm Les thèmes développés dans le poème sont typiquement romantiques : la mort, la nuit, le fantastique, la peur, la forêt, etc. Erlkönig, comme d'ailleurs une grande partie des autres lieder de Schubert, a donné lieu à de nombreux enregistrements remarquables. Manch' bunte Blumen sind an dem Strand, – My mother shall grace thee with garments of gold." Es scheinen die alten Weiden so grau. La dimension de la partition pour piano a incité divers compositeurs à transcrire cette œuvre pour voix et orchestre. [citation needed]. The absence of the piano creates multiple effects on the text and music. – Les orchestrations d'Hector Berlioz (1860), Franz Liszt et Max Reger (1914) sont les plus connues. He grasps in his arms the poor shuddering child; My father, my father, and dost thou not see, And if thou'rt unwilling, then force I'll employ." Loewe's implication is that the Erlking has no substance but merely exists in the child's feverish imagination. The words that the Erl-King now breathes in mine ear? Meine Mutter hat manch gülden Gewand." It was originally written by Goethe as part of a 1782 Singspiel, Die Fischerin. My daughters by night their glad festival keep, – Meine Töchter sollen dich warten schön; Mein Sohn, es ist ein Nebelstreif. "Ich liebe dich, mich reizt deine schöne Gestalt; The story of the Erlkönig derives from the traditional Danish ballad Elveskud: Goethe's poem was inspired by Johann Gottfried Herder's translation of a variant of the ballad (Danmarks gamle Folkeviser 47B, from Peter Syv's 1695 edition) into German as Erlkönigs Tochter ("The Erl-king's Daughter") in his collection of folk songs, Stimmen der Völker in Liedern (published 1778). "Erlkönig" has been transcribed for various settings: for solo piano by Franz Liszt; for solo voice and orchestra by Hector Berlioz, Franz Liszt and Max Reger; for solo violin by Heinrich Wilhelm Ernst. Each of the Son's pleas becomes higher in pitch. Dost see not the Erl-King, with crown and with train? – 26. – L'œuvre a inspiré au violoniste et compositeur Heinrich Wilhelm Ernst son Grand caprice sur Le Roi des aulnes pour violon seul, op. – – Following the tonal scheme, each cry is a semitone higher than the last, and, as in Goethe's poem, the time between the second two cries is less than the first two, increasing the urgency like a large-scale stretto. On my strand, lovely flowers their blossoms unfold, Sei ruhig, bleibe ruhig, mein Kind; He holds the moaning child in his arms, – – La teksto de Erlkönig (elforeĝo) devenas de Johann Wolfgang von … Beethoven intentó musicalizar el poema pero desistió. Plus récemment, le compositeur français Christophe Looten en a réalisé une transcription pour huit voix a cappella. For many a game I will play there with thee; Who rides, so late, through night and wind? Reaches the farm with great difficulty; Mein Sohn, mein Sohn, ich seh' es genau: Mein Sohn, was birgst du so bang dein Gesicht? The left hand of the piano part introduces a low-register leitmotif composed of rising scale in triplets and a falling arpeggio. Collected with it were Op. 'Tis the aged grey willows deceiving thy sight. – The Erl-king, who is always heard pianissimo, does not sing melodies, but instead delivers insubstantial rising arpeggios that outline a single major chord (that of the home key) which sounds simultaneously on the piano in una corda tremolo.