Nachtkönig Tot

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The Erlkönig's nature has been the subject of some debate. The name translates literally from the German as " Alder King" rather than its common English translation, " Elf King" which would be rendered as Elfenkönig in German.

It has often been suggested that Erlkönig is a mistranslation from the original Danish elverkonge , which does mean "king of the elves.

Ludwig van 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 Franz Schubert composed his Lied "Erlkönig" for solo voice and piano at the age of 17 or 18 in , setting text from Goethe's poem.

Schubert revised the song three times before publishing his fourth version in as his Opus 1; it was catalogued by Otto Erich Deutsch as D.

The song was first performed in concert on 1 December at a private gathering in Vienna and received its public premiere on 7 March at Vienna's Theater am Kärntnertor.

The four characters in the song — narrator, father, son, and the Erlking — are all sung by a single vocalist. 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.

A fifth character, the horse, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats. The left hand of the piano part introduces a low-register leitmotif composed of rising scale in triplets and a falling arpeggio.

The moto perpetuo triplets continue throughout the entire song except for the final three bars and mostly comprise the uninterrupted repeated chords or octaves in the right hand, established at the opening.

Significantly, the Erlkönig's verses differ in their accompanying figurations providing some relief for the pianist but are still based on triplets.

Each of the Son's pleas becomes higher in pitch. Near the end of the piece, the music quickens and then slows as the Father spurs his horse to go faster and then arrives at his destination.

The absence of the piano creates multiple effects on the text and music. The silence draws attention to the dramatic text and amplifies the immense loss and sorrow caused by the Son's death.

The song has a tonal scheme based on rising semitones which portrays the increasingly desperate situation:.

The 'Mein Vater, mein Vater' music appears three times on a prolonged dominant seventh chord that slips chromatically into the next key. 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.

Much of the major-key music is coloured by the flattened submediant , giving it a darker, unsettled sound. The piece is regarded as extremely challenging to perform due to the multiple characters the vocalist is required to portray, as well as its difficult accompaniment, involving rapidly repeated chords and octaves which contribute to the drama and urgency of the piece.

The rhythm of the piano accompaniment also changes within the characters. The first time the Erl-king sings in measure 57, the galloping motive disappears.

However, when the Erlking sings again in measure 87, the piano accompaniment plays arpeggios rather than chords. Carl Loewe 's setting was published as Op.

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.

Loewe's accompaniment is in semiquaver groups of six in 9 8 time and marked Geschwind fast. 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 flexible template for the stresses in the words to fall correctly within the rhythmic structure.

Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant , which have a stark quality owing to their unusual relationship to the home key.

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.

These two themes also evoke the rising and moaning of the wind. 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.

Only with his final threatening word, "Gewalt", does he depart from this chord.

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Wer reitet so spät durch Nacht und Wind? Mein Sohn, was birgst du so bang dein Gesicht? Den Erlenkönig mit Kron' und Schweif? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.

Erlkönig hat mir ein Leids getan! Who rides, so late, through night and wind? It is the father with his child.

He has the boy well in his arm He holds him safely, he keeps him warm. My son, why do you hide your face in fear?

The Elf-king with crown and cape? Very beautiful games I play with you; Many colorful flowers are on the beach, My mother has many a golden robe.

My daughters shall wait on you finely; My daughters lead the nightly dance, And rock and dance and sing to bring you in.

The Elf-king has done me harm! Who rides there so late through the night dark and drear? The father it is, with his infant so dear; He holdeth the boy tightly clasp'd in his arm, He holdeth him safely, he keepeth him warm.

My son, wherefore seek'st thou thy face thus to hide? Dost see not the Erl-King, with crown and with train? For many a game I will play there with thee; On my strand, lovely flowers their blossoms unfold, My mother shall grace thee with garments of gold.

My daughters shall tend thee with sisterly care; My daughters by night their glad festival keep, They'll dance thee, and rock thee, and sing thee to sleep.

And if thou'rt unwilling, then force I'll employ. 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 edition into German as Erlkönigs Tochter "The Erl-king's Daughter" in his collection of folk songs, Stimmen der Völker in Liedern published Goethe's poem then took on a life of its own, inspiring the Romantic concept of the Erlking.

Niels Gade 's cantata Elverskud , Op. The Erlkönig's nature has been the subject of some debate. The name translates literally from the German as " Alder King" rather than its common English translation, " Elf King" which would be rendered as Elfenkönig in German.

It has often been suggested that Erlkönig is a mistranslation from the original Danish elverkonge , which does mean "king of the elves. Ludwig van 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 Franz Schubert composed his Lied "Erlkönig" for solo voice and piano at the age of 17 or 18 in , setting text from Goethe's poem.

Schubert revised the song three times before publishing his fourth version in as his Opus 1; it was catalogued by Otto Erich Deutsch as D.

The song was first performed in concert on 1 December at a private gathering in Vienna and received its public premiere on 7 March at Vienna's Theater am Kärntnertor.

The four characters in the song — narrator, father, son, and the Erlking — are all sung by a single vocalist.

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.

A fifth character, the horse, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats.

The left hand of the piano part introduces a low-register leitmotif composed of rising scale in triplets and a falling arpeggio.

The moto perpetuo triplets continue throughout the entire song except for the final three bars and mostly comprise the uninterrupted repeated chords or octaves in the right hand, established at the opening.

Significantly, the Erlkönig's verses differ in their accompanying figurations providing some relief for the pianist but are still based on triplets.

Each of the Son's pleas becomes higher in pitch. Near the end of the piece, the music quickens and then slows as the Father spurs his horse to go faster and then arrives at his destination.

The absence of the piano creates multiple effects on the text and music. The silence draws attention to the dramatic text and amplifies the immense loss and sorrow caused by the Son's death.

The song has a tonal scheme based on rising semitones which portrays the increasingly desperate situation:. The 'Mein Vater, mein Vater' music appears three times on a prolonged dominant seventh chord that slips chromatically into the next key.

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.

Much of the major-key music is coloured by the flattened submediant , giving it a darker, unsettled sound. The piece is regarded as extremely challenging to perform due to the multiple characters the vocalist is required to portray, as well as its difficult accompaniment, involving rapidly repeated chords and octaves which contribute to the drama and urgency of the piece.

The rhythm of the piano accompaniment also changes within the characters. The first time the Erl-king sings in measure 57, the galloping motive disappears.

However, when the Erlking sings again in measure 87, the piano accompaniment plays arpeggios rather than chords. Carl Loewe 's setting was published as Op.

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.

Loewe's accompaniment is in semiquaver groups of six in 9 8 time and marked Geschwind fast. 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 flexible template for the stresses in the words to fall correctly within the rhythmic structure.

Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant , which have a stark quality owing to their unusual relationship to the home key.

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