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1634:. As recalled by Berlioz in his memoirs, the two composers were soon drawn into an argument comparing Tomášek's composition to Schubert's: "Someone (for there are people who find fault with everything) drew a comparison between the accompaniment of this piece and that of Schubert's ballad, in which the furious gallop of the horse is reproduced, and declared that M. Tomášek had mimicked the placid gait of a priest's nag. An intelligent critic, however, more capable than his neighbours of judging of the philosophy of art, annihilated this irony, and replied with great good sense: 'It is just because Schubert made that unlucky horse gallop so wildly that it has foundered, and is now forced to go at a foot pace.'"
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arranges a simplified version of them, and would be so curious to see how it would turn out, would it be the original version by
Schubert?' Sometimes not: Liszt has made changes and additions; the way he has done it testifies to the powerful nature of his play, his conception; others may think differently. It boils down to the old question whether the performing artist may place himself above the creative artist, whether he may reshape the latter's works at will for himself. The answer is easy: we laugh at a fool if he does it badly, we allow a witty one if he does not downright destroy the meaning of the original. In the school of piano playing, this kind of arrangement marks a special chapter."
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often noticed that the performance of songs in symphonic concerts has suffered greatly due to the fact that the gentlemen conducting were not really the best accompanists. This grievance will be remedied by the instrumentation; and dragging an extra grand piano on to the stage will not even be necessary... After having rehearsed daily for two whole winters, as it were, with the
Meiningen Court Orchestra, and having performed many songs (solo songs!) with the orchestra, I know precisely how to orchestrate such matters."
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1744:. He wrote: "To my ear, it is often a real insult to have to listen to a singer, following an orchestral piece in a gigantic hall, performing lieder to the spindly accompaniment of a piano in the huge space. But it goes without saying that one must make a very careful choice of the songs to be orchestrated."
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The music intensifies further, Schubert once again creating tension through the "galloping motif". The grace notes in the voice line suggest the father's horror, and the music accelerates on the words "er reitet geschwind" (he swiftly rides on). A final allusion to the father's tonality of C minor is
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After a long introduction of fifteen measures, the narrator raises the question "Wer reitet so spät durch Nacht und Wind?" and accentuates the key words "Vater" (father) and "seinem Kind" (his child) in the reply. A link between "Wind" and "Kind" is suggested in the placement in a major tonality. The
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Before the
Erlking speaks again, the ominous bass motif foreshadows the outcome of the song. The Erlkönig's luring now becomes more insistent. He threatens the boy, the initial lyricism and playfulness yielding to a measured declamation, with the "passing note motif" being voiced both in the treble
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major, placing emphasis on the words "liebes" (dear) and "geh" (go). The descending intervals of the melody seems to provide a soothing response to the boy's fear. Though the
Erlking's seductive verses differ in their accompanying figurations (providing some relief for the pianist), they are still
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in
December 1911, Reger seems to have used the orchestra to experiment in orchestration. Between 1913 and 1914, he completed 45 orchestral arrangements of songs written by himself and others. He wrote to his publisher: "The instrumentation will ensure that the singer is never 'muffled'. I have so
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reported. During the 1820s and 30s, "Erlkönig" was unanimously acclaimed among the
Schubert circle, critics and general audiences, with critics hailing the work as "a masterpiece of musical painting", "a composition full of fantasy and feeling, which had to be repeated", "an ingenious piece" that
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The four characters in the song – narrator, father, son, and the
Erlking – are all sung by a single vocalist. The narrator lies in the middle range and begins in the minor mode. The father lies in the lower range and sings in both minor and major mode. The son lies in a higher range, also in the
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has highlighted the piano accompaniment in the setting, which he describes as having a "compositional life of its own", with important motifs such as the repeated octaves that create an eerie, suspenseful atmosphere. Furthermore, Fischer-Dieskau praised the "magnificent tragedy" of the setting.
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wrote: " have found a great deal of interest among the public. Performed by Liszt, they are said to be of great effect, and those who are not masters of the piano will try to play them to no avail. They are perhaps the most difficult works that exist for piano, and a witty person said, 'if one
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The Erlkönig's enticement intensifies. The piano accompaniment transforms into flowing major arpeggios that may refer to the dances of the
Erlking's daughters and the troubled half-sleep of the child. The presence of the daemonic is once again highlighted by the "passing note motif". As in the
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in the son's melody indicates a call to his father, creating dissonances between the vocal part and the bass that evoke the boy's horror. The harmonic instability in this verse allude to the child's feverish wandering. The father's tonal center becomes increasingly distant from the child's,
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nature, the solo violin having to perform the narrator, the Erlkönig, the father, and the child (4 independent voices) in their different vocal colourations, but also the complete piano accompaniment at the same time. This is accomplished through the use of double, triple and quadruple
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claims that it was written in a few hours one afternoon. He revised the song three times before publishing his fourth version in 1821 as his Opus 1. The work was first performed in concert on 1 December 1820 at a private gathering in Vienna. The public premiere on 7 March 1821 at the
307:"Erlkönig" exists in four versions by Schubert's hand, with the 3rd version featuring a simplified piano accompaniment without triplets in the right hand. The original (for medium voice) is in the key of G minor, though there are also transposed editions for high and low voice.
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wrote of the arrangement: "From the finely wrought and polished score no one could suspect anything of the anxiety, illness, or conflicts in his heart and soul. It is delicate, poignant, full of insight into
Schubert's masterpiece – a compendium of art concealing itself."
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wrote on the arrangements: "Most, like Liszt's transcriptions of the Lieder or
Berlioz's orchestration for Erlkönig, tell us more about the arranger than about the original composer, but they can be diverting so long as they are in no way a replacement for the original."
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it appeals to the great unwashed and the squeaky-clean in equal measure, to those who see something symbolic in the poem, and to those who simply love a rattling good yarn excitingly told. It was that rare thing: a hit that absolutely deserved to be."
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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
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in 1860, Berlioz was too willing, as he felt that Schubert's piano accompaniment was essentially orchestral in nature. The arrangement was premiered at Baden-Baden on 27 August 1860, and was published in Paris the same year. Berlioz's biographer
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remarked on these octaves: "Those scales, so numerous and so rapid, whose rolling, like that of the thunder, made the listeners tremble with terror, who else but Liszt, in order to increase their sonority, would have dared play them in octaves?"
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major, as the father spurs his horse to go faster and then arrives at his destination. Before this chord is resolved, the triplet motif stops, and the final rendition of the "passing note motif" in the bass seems to seal the fate of the boy.
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performed "Erlkönig" before Goethe in 1830, he is reported by Eduard Genast to have said: "I have heard this composition once before, when it did not appeal to me at all; but sung in this way the whole shapes itself into a visible picture".
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characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century".
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The piece is regarded as 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.
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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 that were established at the opening.
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Joseph von Spaun sent the composition to Goethe, hoping to receive his approval for a print. The latter, however, sent it back without comment, as he categorically rejected Schubert's form of the
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The son's fear and anxiety in response to the Erlking's words is highlighted by the immediate resumption of the original triplet motif, just after the Erlking finishes his verse. The
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major to D minor, with the Erlking appropriating the minor tonality originally associated with the father and his child. The boy cries out to his father a final time, heard in
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A fifth character, the horse on which the father and boy are riding, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats.
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musical realization that represents the various rational and irrational elements of Goethe's ballad by contrasting yet unifying musical elements. Its form is the
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Berlioz's arrangement is scored for two flutes, oboe, English horn, two clarinets, two bassoons, three horns, two trumpets, timpani, strings, and solo voice.
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Liszt's arrangement is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, harp, strings, and solo voice.
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273:, though no work would become as preeminent as Schubert's, which stands among the most performed, reworked and recorded compositions ever written.
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1763:". In the work, the restless piano accompaniment is performed by the strings, with the flute supporting the seductive sound of the Erlkönig.
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leaves an "indelible impression". No other performance of Schubert's work during his lifetime would receive more attention than "Erlkönig".
389:, and each has his own rhythmic and harmonic nuances; in addition, most singers endeavor to use a different vocal coloration for each part.
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song; although the melodic motives recur, the harmonic structure is constantly changing and the piece modulates within the four characters.
1709:(S. 375). Ben Arnold notes the irony that Berlioz's arrangement, his only transcription of a Schubert song, was written in the same year.
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to D major implies a "submission to the daemonic forces", followed by the final cadence delivering "a perfect consummation to the song".
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Liszt performed his "Erlkönig" 65 times during his tours of Germany between 1840 and 1845, more than any of his operatic paraphrases.
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2255: Part 4 Verlag der typogr.-literar.-artist. Anstalt (L. C. Zamarski, C. Dittmarsch & Comp.), Vienna 1858, p. 73 (
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writes that "Erlkönig is one of those songs that defies age (the composer's, particularly) and defines an age. Like Beethoven's
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excitement still further, belonged his playing of Schubert’s Erlkönig, a work widely known and heard, and yet now heard
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years, with many of his major works having been published, Liszt turned his attention to orchestral transcriptions. On
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Reger's arrangement is scored for flute, oboe, two clarinets, bassoon, two horns, timpani, strings, and solo voice.
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Memoirs of Hector Berlioz: From 1803 to 1865, Comprising His Travels in Germany, Italy, Russia, and England
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based on triplets, not letting the daemonic presence be forgotten. The "passing note motif" is used twice.
2273:. Translated by Holmes, Rachel Scott Russell; Holmes, Eleanor. New York: Dover Publications. p. 413.
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After a short piano interlude, the Erlking starts to address the boy in a charming, flattering melody in B
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In the introduction, the left hand of the piano part introduces an ominous bass motif composed of rising
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The premiere in 1821 was an immediate success; the large audience broke out in "rapturous applause", as
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verse ends where it started, in G minor, seemingly indicating the narrator's neutral point of view.
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2369:"Sturm und Drang Spirit in Early Nineteenth-Century German Lieder: the Goethe-Schubert 'Erlkönig'"
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in the accompaniment until the boy's death. Schubert places each character largely in a different
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The son cries out to his father, his fear again illustrated in rising pitch and chromaticism.
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Among Schubert's most famous works, the piece has been arranged by various composers, such as
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minor mode. The Erlking's vocal line, in the major mode, provides the only break from the
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Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches
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The father's question to his son is harmonically supported by a modulation from the
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and in the bass. Upon the word "Gewalt" (force), the tonality has modulated from E
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was a great success, and quickly propelled the young composer to fame in Vienna.
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1202:"Erlkönig" has had enjoyed enduring popularity since its inception to this day.
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Erlking's first verse, the octave triplets resume immediately after the verse.
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Goethe's poem was set in music by at least a hundred composers, including
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Reger's arrangement of "Erlkönig" was completed in 1914, together with "
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2728:"Schubert's 'Erlkönig:' Motivic Parallelism and Motivic Transformation"
2301:(Phoenix ed.). Chicago: University of Chicago Press. p. 359.
2188:(1854). "Phantasieen, Capricen etc. für Pianoforte (2): Dritte Reihe".
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The "Mein Vater, mein Vater" music appears three times on a prolonged
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Erlkönig-Vertonungen. Eine historische und systematische Untersuchung
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suggesting a rivalry over possession of the boy with the Erlking.
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Franz Schubert. Verzeichnis seiner Werke in chronologischer Folge
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The Enjoyment of Music: An Introduction to Perceptive Listening
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Berlioz and His Century: An Introduction to Age of Romanticism
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1689:(S. 363/3) have been a success, he decided to orchestrate six
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asked him to orchestrate Schubert's work for a performance in
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Possible portrait (retouched) of Schubert c. 1814, painted by
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Auf den Spuren der Schubert-Lieder. Werden - Wesen - Wirkung
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1254:(1860; H. 136, NBE 22b), Franz Liszt (1860; S. 375/4) and
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Commenting on Liszt's arrangements of Schubert's Lieder,
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Schubert composed "Erlkönig" at the age of 18 in 1815 –
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Musical settings of poems by Johann Wolfgang von Goethe
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2609:""Komm, geh' mit mir": Schubert's Uncanny "Erlkönig""
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which portrays the increasingly desperate situation:
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Portrait of Liszt: By Himself and His Contemporaries
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1238:(1838, revised 1876; S. 558/4), for solo violin by
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2251:Biographisches Lexikon des Kaiserthums Oesterreich
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1324:arranged "Erlkönig" for solo piano as part of his
806:And if you're not willing, then I will use force."
2524:(in German) (3rd ed.). Kassel: Bärenreiter.
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1759:", "Gruppe aus dem Tartarus", "Prometheus", and "
791:Und bist du nicht willig, so brauch' ich Gewalt."
789:"Ich liebe dich, mich reizt deine schöne Gestalt;
736:"Mein Vater, mein Vater, und siehst du nicht dort
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2253:(Biographical Lexicon of the Empire of Austria).
793:"Mein Vater, mein Vater, jetzt fasst er mich an!
499:"Mein Sohn, was birgst du so bang dein Gesicht?"
48:Title page of the first edition as published by
3217:List of compositions by Franz Schubert by genre
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2103:. University of California Press. p. 407.
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1976:
1949:
1358:: "To a quite different sphere, increasing the
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2269:Berlioz, Hector (1966). Newman, Ernest (ed.).
751:"My father, my father, and don't you see there
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1896:
1747:After he was appointed music director of the
872:It horrifies the father, he swiftly rides on,
620:"Mein Vater, mein Vater, und hörest du nicht,
2796:Grand Caprice sur 'Le Roi des Aulnes', Op.26
933:The song has a tonal scheme based on rising
808:"My father, my father, he's touching me now!
804:"I love you, your beautiful form excites me;
703:They rock and dance and sing you to sleep."
514:"My son, why do you hide your face in fear?"
3684:Self-Portrait with Death Playing the Fiddle
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2191:Gesammelte Schriften über Musik und Musiker
1449:". The work is characterized by its highly
686:Sie wiegen und tanzen und singen dich ein."
682:Meine Töchter führen den nächtlichen Reihn,
460:Who rides, so late, through night and wind?
16:Lied by Franz Schubert set to Goethe's poem
3691:Skull of a Skeleton with Burning Cigarette
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2683:Machlis, Joseph; Forney, Kristine (2003).
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684:Und wiegen und tanzen und singen dich ein,
641:The wind is rustling through dry leaves."
635:"My father, my father, and do you not hear
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2800:International Music Score Library Project
2790:International Music Score Library Project
2780:International Music Score Library Project
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1908:
1681:'s request, who was the conductor of the
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753:Erlking's daughters in the gloomy place?"
740:"Mein Sohn, mein Sohn, ich seh' es genau:
701:And rock and dance and sing you to sleep,
360:Schubert's adaptation of "Erlkönig" is a
3222:Schubert opus/Deutsch number concordance
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2164:. Oxford: Clarendon Press. p. 178.
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1721:Erl King – arrangement by Liszt bars 1–4
1234:for various settings: for solo piano by
874:He holds the groaning child in his arms,
857:Dem Vater grausets, er reitet geschwind,
757:There shimmer the old willows so grey."
466:He holds him safely, he keeps him warm.
445:Wer reitet so spät durch Nacht und Wind?
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876:Reaches the farm with great difficulty;
680:Meine Töchter sollen dich warten schön;
678:"Willst, feiner Knabe, du mit mir gehn?
579:Some colorful flowers are on the beach,
564:Manch' bunte Blumen sind an dem Strand,
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3212:List of compositions by Franz Schubert
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1884:
1802:
742:Es scheinen die alten Weiden so grau."
697:My daughters shall wait on you finely;
695:"Do you, fine boy, want to go with me?
566:Meine Mutter hat manch gülden Gewand."
503:Den Erlenkönig mit Kron' und Schweif?"
501:"Siehst, Vater, du den Erlkönig nicht?
451:Er fasst ihn sicher, er hält ihn warm.
288:
3774:Do not go gentle into that good night
3237:
2822:
2794:Arrangement for solo violin (Ernst):
2649:
2606:
1988:
1853:
1841:
1829:
1814:
626:In dürren Blättern säuselt der Wind."
622:Was Erlenkönig mir leise verspricht?"
577:Very lovely games I'll play with you;
562:Gar schöne Spiele spiel' ich mit dir;
2784:Arrangement for solo piano (Liszt):
2516:
2000:
851:
783:
730:
699:My daughters lead the nightly dance,
672:
624:"Sei ruhig, bleibe ruhig, mein Kind;
614:
554:
516:"Father, do you not see the Erlking?
505:"Mein Sohn, es ist ein Nebelstreif."
493:
439:
2889:Gesang der Geister über den Wassern
2786:12 Lieder von Franz Schubert, S.558
2652:The Cambridge Companion to Schubert
2374:International Journal of Musicology
859:Er hält in Armen das ächzende Kind,
560:"Du liebes Kind, komm, geh mit mir!
13:
3760:Because I could not stop for Death
2719:
2650:Gibbs, Christopher Howard (1997).
1716:
1658:
1569:
1470:
1332:
1246:, Op. 26), and for solo voice and
918:
861:Erreicht den Hof mit Müh' und Not;
837:
795:Erlkönig hat mir ein Leids getan!"
769:
755:"My son, my son, I see it clearly:
738:Erlkönigs Töchter am düstern Ort?"
716:
658:
637:What Erlking quietly promises me?"
600:
581:My mother has some golden robes."
575:"You dear child, come, go with me!
540:
479:
449:Er hat den Knaben wohl in dem Arm,
425:
317:
14:
3841:
3800:Lieder composed by Franz Schubert
2769:
2194:. Leipzig: Georg Wigand’s Verlag.
878:In his arms, the child was dead.
863:In seinen Armen das Kind war tot.
520:"My son, it is a streak of fog."
518:The Erlking with crown and tail?"
447:Es ist der Vater mit seinem Kind;
3753:And death shall have no dominion
3698:Sleep and His Half-Brother Death
2069:"Introduction to Erlkönig, D328"
1610:Problems playing this file? See
1602:with the Victor Orchestra (1913)
1588:
1542:
1518:
1510:with the Insula Orchestra under
1498:
1443:Grand Caprice für Violine allein
1413:
1397:
1304:
1288:
1244:Grand Caprice für Violine allein
351:Problems playing this file? See
333:
3726:The Three Ages of Man and Death
3649:Gather Ye Rosebuds While Ye May
2484:Düring, Werner-Joachim (1972).
2425:Bodley, Lorraine Byrne (2003).
2287:
2262:
2235:
2198:
2178:
2153:
2099:Schubert: The Music and the Man
2088:
1225:
2607:Gibbs, Christopher H. (1995).
1326:Twelve Songs by Franz Schubert
639:"Be calm, stay calm, my child;
464:He has the boy well in his arm
462:It is a father with his child.
311:Structure and musical analysis
1:
3465:Capuchin catacombs of palermo
2342:Liner notes to Pentatone 6394
2094:
1769:
1435:Grand Caprice for solo violin
371:
298:
242:have orchestrated the piece.
2459:Deutscher Taschenbuch Verlag
2367:Antokoletz, Elliott (2016).
2127:Van Dine, Kara Lynn (2010).
1707:Four Songs by Franz Schubert
1196:Wilhelmine Schröder-Devrient
395:
7:
3537:The Masque of the Red Death
3170:Nur wer die Sehnsucht kennt
2696:Schläbitz, Norbert (2011).
2654:(1st ed.). Cambridge.
1626:In 1846, during a visit to
1556:Chamber Orchestra of Europe
928:
810:Erlking has done me harm!"
10:
3846:
2702:Verlag Ferdinand Schöningh
2689:W. W. Norton & Company
2427:Schubert's Goethe Settings
2360:
1621:
847:
779:
726:
668:
610:
550:
489:
435:
411:in triplets and a falling
263:Johann Friedrich Reichardt
245:
196:Johann Wolfgang von Goethe
3742:
3593:
3563:Death and Transfiguration
3545:
3493:
3473:
3442:
3435:
3364:
3351:Personifications of death
3272:
3206:
3156:
3115:
3101:", D 957 No. 13
2903:
2864:
2581:Schubert und seine Lieder
2576:Fischer-Dieskau, Dietrich
2540:Fischer-Dieskau, Dietrich
2490:(in German). Regensburg:
2208:"Ernst, Heinrich Wilhelm"
2160:Williams, Adrian (1990).
2135:University of North Texas
1897:Machlis & Forney 2003
1749:Meiningen Court Orchestra
1541:
1517:
1497:
1492:
1487:
1412:
1396:
1391:
1386:
1303:
1287:
1282:
1277:
156:
141:
136:
119:
104:
88:
78:
67:
57:
41:
28:
23:
3338:Sic transit gloria mundi
3045:Auf dem Wasser zu singen
2997:"Wiegenlied", D 498
2700:(in German). Paderborn:
2095:Newbould, Brian (1999).
1729:
1668:
1600:Ernestine Schumann-Heink
1204:Dietrich Fischer-Dieskau
855:
787:
734:
676:
618:
558:
497:
443:
3810:Compositions in G minor
3570:Der Tod und das Mädchen
3407:Post-mortem photography
3106:Der Hirt auf dem Felsen
3086:"Ständchen", D 889
3031:Willkommen und Abschied
3003:Der Tod und das Mädchen
2895:"Ständchen", D 920
2815:by David Bennett Thomas
2726:Stein, Deborah (1989).
2550:dtv Verlagsgesellschaft
2339:Steiger, Franz (2014).
2246:Ernst, Heinrich Wilhelm
2242:Constantin von Wurzbach
2219:Oxford University Press
2205:Schwarz, Boris (2001).
1639:Gustave-Hippolyte Roger
1493:For voice and orchestra
1481:For voice and orchestra
1380:For solo violin (Ernst)
297:Schubert's manuscript,
3125:Schubert's song cycles
1722:
1693:: "Die junge Nonne", "
1663:
1574:
1532:Munich Radio Orchestra
1508:Stanislas de Barbeyrac
1475:
1442:
1431:Heinrich Wilhelm Ernst
1337:
1271:For solo piano (Liszt)
1240:Heinrich Wilhelm Ernst
1163:dominant seventh chord
923:
870:
842:
802:
774:
749:
721:
693:
663:
633:
605:
573:
545:
512:
484:
458:
430:
322:
304:
283:Theater am Kärntnertor
258:
228:Heinrich Wilhelm Ernst
145:7 March 1821
3313:Lamentation of Christ
2970:Hermann und Thusnelda
2921:Gretchen am Spinnrade
2698:Romantik in der Musik
2548:(in German). Kassel:
1757:Gretchen am Spinnrade
1720:
1695:Gretchen am Spinnrade
1662:
1573:
1474:
1336:
1192:through-composed song
922:
841:
773:
720:
662:
604:
544:
483:
429:
321:
296:
267:Carl Friedrich Zelter
253:
3830:Songs about children
3733:The Triumph of Death
3635:Death and the Maiden
3307:Death and the Maiden
3267:and mortality in art
2402:Arnold, Ben (2002).
2049:Fischer-Dieskau 1976
2037:Fischer-Dieskau 1976
1977:Fischer-Dieskau 1996
1950:Fischer-Dieskau 1976
1761:Gesänge des Harfners
1460:artificial harmonics
1230:"Erlkönig" has been
1178:Reception and legacy
3719:The Shadow of Death
3712:The Garden of Death
3656:La Calavera Catrina
3642:Death and the Miser
3130:Die schöne Müllerin
2449:Deutsch, Otto Erich
2404:The Liszt Companion
2324:, pp. 320–321.
1940:, pp. 230–231.
1683:Vienna Philharmonic
908:The resolution of C
289:Publication history
3532:Hamlet's soliloquy
3455:Catacombs of Paris
3280:All flesh is grass
3197:Wandrers Nachtlied
2984:Der König in Thule
2733:19th-Century Music
2614:19th-Century Music
2214:Grove Music Online
1723:
1679:Johann von Herbeck
1664:
1575:
1476:
1364:for the first time
1338:
924:
843:
775:
722:
664:
606:
546:
485:
431:
323:
305:
259:
3825:Songs about death
3820:Songs about kings
3787:
3786:
3783:
3782:
3670:Pyramid of Skulls
3603:Et in Arcadia ego
3231:
3230:
3059:Lachen und Weinen
2808:Harmonic analysis
2711:978-3-14-018072-6
2531:978-3-476-02380-3
2522:Schubert Handbuch
2417:978-0-313-09214-5
2228:978-1-56159-263-0
2137:. pp. 87–88.
2110:978-0-520-21957-1
1673:During his later
1593:
1565:
1564:
1512:Laurence Equilbey
1428:
1427:
1356:Vossische Zeitung
1342:A critic for the
1319:
1318:
1314:Valentina Lisitsa
1159:
1158:
884:
883:
816:
815:
763:
762:
709:
708:
647:
646:
587:
586:
526:
525:
472:
471:
338:
226:(solo piano) and
166:
165:
3837:
3521:Book of the Dead
3484:The Seventh Seal
3440:
3439:
3258:
3251:
3244:
3235:
3234:
3099:Der Doppelgänger
3066:Nacht und Träume
3052:Du bist die Ruh'
2859:
2858:
2843:
2836:
2829:
2820:
2819:
2809:
2798:: Scores at the
2788:: Scores at the
2778:: Scores at the
2765:
2715:
2692:
2687:(9th ed.).
2679:
2673:
2665:
2646:
2603:
2571:
2535:
2513:
2480:
2444:
2421:
2398:
2354:
2353:
2347:
2336:
2325:
2319:
2313:
2312:
2291:
2285:
2284:
2266:
2260:
2239:
2233:
2232:
2217:(8th ed.).
2210:
2202:
2196:
2195:
2186:Schumann, Robert
2182:
2176:
2175:
2157:
2151:
2145:
2139:
2138:
2124:
2115:
2114:
2102:
2092:
2086:
2085:
2083:
2081:
2074:Hyperion Records
2061:
2052:
2046:
2040:
2034:
2028:
2022:
2016:
2010:
2004:
1998:
1992:
1986:
1980:
1974:
1968:
1962:
1953:
1947:
1941:
1935:
1929:
1923:
1912:
1906:
1900:
1894:
1888:
1882:
1869:
1863:
1857:
1851:
1845:
1839:
1833:
1827:
1818:
1812:
1806:
1800:
1789:
1783:
1703:Der Doppelgänger
1701:", "Erlkönig", "
1595:
1594:
1572:
1552:Thomas Quasthoff
1546:
1545:
1522:
1521:
1502:
1501:
1485:
1484:
1447:violin technique
1417:
1416:
1401:
1400:
1384:
1383:
1344:Courrier de Lyon
1308:
1307:
1292:
1291:
1275:
1274:
1194:. However, when
1184:Joseph von Spaun
1123:
1122:
1088:
1087:
1020:
1019:
999:
998:
940:
939:
913:
912:
896:
895:
887:followed by the
852:
832:
824:
823:
784:
731:
673:
615:
594:
593:
555:
494:
440:
420:
419:
366:through-composed
343:Full performance
340:
339:
320:
303:
300:
278:Joseph von Spaun
200:of the same name
152:
150:
115:
113:
46:
21:
20:
3845:
3844:
3840:
3839:
3838:
3836:
3835:
3834:
3790:
3789:
3788:
3779:
3738:
3705:The Ambassadors
3589:
3541:
3489:
3469:
3431:
3360:
3268:
3262:
3232:
3227:
3226:
3202:
3152:
3111:
2899:
2860:
2854:
2853:
2847:
2807:
2776:Erlkönig, D.328
2772:
2725:
2722:
2720:Further reading
2712:
2667:
2666:
2662:
2592:
2560:
2532:
2502:
2469:
2441:
2418:
2408:Greenwood Press
2363:
2358:
2357:
2345:
2337:
2328:
2320:
2316:
2309:
2295:Barzun, Jacques
2292:
2288:
2281:
2267:
2263:
2240:
2236:
2229:
2203:
2199:
2183:
2179:
2172:
2158:
2154:
2146:
2142:
2125:
2118:
2111:
2093:
2089:
2079:
2077:
2065:Johnson, Graham
2062:
2055:
2047:
2043:
2035:
2031:
2025:Antokoletz 2016
2023:
2019:
2011:
2007:
1999:
1995:
1987:
1983:
1975:
1971:
1967:, pp. 231.
1963:
1956:
1948:
1944:
1936:
1932:
1924:
1915:
1907:
1903:
1895:
1891:
1883:
1872:
1866:Antokoletz 2016
1864:
1860:
1852:
1848:
1840:
1836:
1828:
1821:
1813:
1809:
1801:
1792:
1784:
1777:
1772:
1732:
1699:Lied der Mignon
1671:
1624:
1617:
1616:
1608:
1606:
1605:
1604:
1603:
1596:
1589:
1586:
1580:
1576:
1570:
1550:, performed by
1543:
1526:, performed by
1519:
1506:, performed by
1499:
1483:
1437:on "Erlkönig" (
1421:, performed by
1414:
1405:, performed by
1398:
1392:For solo violin
1382:
1371:Robert Schumann
1352:Ludwig Rellstab
1312:, performed by
1305:
1298:Daniil Trifonov
1296:, performed by
1289:
1273:
1228:
1180:
1124:major → D minor
1120:
1119:
1085:
1084:
1017:
1016:
1003:Father and Son
996:
995:
967:(Introduction)
931:
910:
909:
893:
892:
880:
877:
875:
873:
867:
864:
862:
860:
858:
850:
826:
821:
820:
812:
809:
807:
805:
799:
796:
794:
792:
790:
782:
759:
756:
754:
752:
746:
743:
741:
739:
737:
729:
705:
702:
700:
698:
696:
690:
687:
685:
683:
681:
679:
671:
643:
640:
638:
636:
630:
627:
625:
623:
621:
613:
591:
590:
583:
580:
578:
576:
570:
567:
565:
563:
561:
553:
522:
519:
517:
515:
509:
506:
504:
502:
500:
492:
468:
465:
463:
461:
455:
452:
450:
448:
446:
438:
417:
416:
398:
374:
358:
357:
349:
347:
346:
345:
344:
341:
334:
331:
324:
318:
313:
301:
291:
248:
230:(solo violin);
148:
146:
132:
111:
109:
53:
17:
12:
11:
5:
3843:
3833:
3832:
3827:
3822:
3817:
3812:
3807:
3802:
3785:
3784:
3781:
3780:
3778:
3777:
3770:
3763:
3756:
3748:
3746:
3740:
3739:
3737:
3736:
3729:
3722:
3715:
3708:
3701:
3694:
3687:
3680:
3673:
3666:
3659:
3652:
3645:
3638:
3631:
3628:Death and Life
3624:
3621:Death and Fire
3617:
3616:
3615:
3610:
3599:
3597:
3591:
3590:
3588:
3587:
3580:
3573:
3566:
3559:
3551:
3549:
3543:
3542:
3540:
3539:
3534:
3529:
3524:
3517:
3512:
3505:
3497:
3495:
3491:
3490:
3488:
3487:
3479:
3477:
3471:
3470:
3468:
3467:
3462:
3460:Sedlec Ossuary
3457:
3452:
3450:Capuchin Crypt
3446:
3444:
3437:
3433:
3432:
3430:
3429:
3424:
3419:
3414:
3409:
3404:
3399:
3394:
3389:
3384:
3379:
3374:
3368:
3366:
3362:
3361:
3359:
3358:
3353:
3348:
3341:
3334:
3327:
3320:
3315:
3310:
3303:
3296:
3289:
3282:
3276:
3274:
3270:
3269:
3261:
3260:
3253:
3246:
3238:
3229:
3228:
3225:
3224:
3219:
3214:
3208:
3207:
3204:
3203:
3201:
3200:
3193:
3188:
3183:
3178:
3173:
3166:
3160:
3158:
3154:
3153:
3151:
3150:
3146:Schwanengesang
3142:
3134:
3121:
3119:
3113:
3112:
3110:
3109:
3102:
3095:
3088:
3083:
3076:
3069:
3062:
3055:
3048:
3041:
3034:
3027:
3020:
3013:
3006:
2999:
2994:
2987:
2980:
2973:
2966:
2963:Vaterlandslied
2959:
2952:
2949:Die Bürgschaft
2945:
2938:
2931:
2928:Rastlose Liebe
2924:
2917:
2909:
2907:
2901:
2900:
2898:
2897:
2892:
2885:
2878:
2870:
2868:
2862:
2861:
2856:Franz Schubert
2846:
2845:
2838:
2831:
2823:
2817:
2816:
2804:
2803:
2802:
2792:
2771:
2770:External links
2768:
2767:
2766:
2746:10.2307/746652
2740:(2): 145–158.
2721:
2718:
2717:
2716:
2710:
2693:
2680:
2660:
2647:
2627:10.2307/746658
2621:(2): 115–135.
2604:
2590:
2572:
2558:
2536:
2530:
2514:
2500:
2481:
2467:
2445:
2439:
2422:
2416:
2399:
2362:
2359:
2356:
2355:
2326:
2314:
2307:
2286:
2279:
2261:
2234:
2227:
2197:
2177:
2170:
2152:
2150:, p. 133.
2140:
2116:
2109:
2087:
2053:
2041:
2039:, p. 168.
2029:
2027:, p. 147.
2017:
2015:, p. 109.
2005:
1993:
1991:, p. 117.
1981:
1969:
1954:
1942:
1930:
1928:, p. 230.
1913:
1909:Schläbitz 2011
1901:
1889:
1887:, p. 229.
1870:
1868:, p. 140.
1858:
1856:, p. 150.
1846:
1834:
1832:, p. 115.
1819:
1807:
1805:, p. 228.
1790:
1774:
1773:
1771:
1768:
1731:
1728:
1725:
1724:
1670:
1667:
1666:
1665:
1648:Jacques Barzun
1632:Václav Tomášek
1623:
1620:
1607:
1597:
1587:
1582:
1581:
1578:
1577:
1568:
1567:
1566:
1563:
1562:
1560:Claudio Abbado
1539:
1538:
1515:
1514:
1495:
1494:
1490:
1489:
1488:External audio
1482:
1479:
1478:
1477:
1462:and left-hand
1426:
1425:
1410:
1409:
1394:
1393:
1389:
1388:
1387:External audio
1381:
1378:
1340:
1339:
1317:
1316:
1301:
1300:
1285:
1284:
1283:For solo piano
1280:
1279:
1278:External audio
1272:
1269:
1262:Brian Newbould
1252:Hector Berlioz
1227:
1224:
1215:Fifth Symphony
1211:Graham Johnson
1179:
1176:
1157:
1156:
1153:
1148:
1145:
1141:
1140:
1137:
1134:
1132:
1129:
1128:
1125:
1116:
1113:
1109:
1108:
1105:
1100:
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728:
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232:Hector Berlioz
188:Franz Schubert
164:
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55:
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39:
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36:Franz Schubert
26:
25:
15:
9:
6:
4:
3:
2:
3842:
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3579:
3578:
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3567:
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3560:
3558:
3557:
3556:Danse macabre
3553:
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3523:
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3413:
3410:
3408:
3405:
3403:
3400:
3398:
3395:
3393:
3390:
3388:
3387:Funerary text
3385:
3383:
3380:
3378:
3375:
3373:
3370:
3369:
3367:
3363:
3357:
3354:
3352:
3349:
3347:
3346:
3342:
3340:
3339:
3335:
3333:
3332:
3331:Mono no aware
3328:
3326:
3325:
3321:
3319:
3316:
3314:
3311:
3309:
3308:
3304:
3302:
3301:
3300:Danse Macabre
3297:
3295:
3294:
3290:
3288:
3287:
3283:
3281:
3278:
3277:
3275:
3271:
3266:
3259:
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3139:
3135:
3132:
3131:
3127:, including:
3126:
3123:
3122:
3120:
3118:
3114:
3108:", D 965
3107:
3103:
3100:
3096:
3094:", D 891
3093:
3089:
3087:
3084:
3082:", D 882
3081:
3077:
3075:", D 839
3074:
3070:
3068:", D 827
3067:
3063:
3061:", D 777
3060:
3056:
3053:
3049:
3047:", D 774
3046:
3042:
3040:", D 771
3039:
3035:
3033:", D 767
3032:
3028:
3026:", D 674
3025:
3021:
3019:", D 550
3018:
3014:
3012:", D 547
3011:
3007:
3005:", D 531
3004:
3000:
2998:
2995:
2993:", D 489
2992:
2988:
2986:", D 367
2985:
2981:
2979:", D 328
2978:
2974:
2972:", D 322
2971:
2967:
2965:", D 287
2964:
2960:
2958:", D 257
2957:
2956:Heidenröslein
2953:
2951:", D 246
2950:
2946:
2944:", D 166
2943:
2939:
2937:", D 141
2936:
2935:Der Mondabend
2932:
2930:", D 130
2929:
2925:
2923:", D 118
2922:
2918:
2915:
2911:
2910:
2908:
2906:
2902:
2896:
2893:
2891:", D 714
2890:
2886:
2884:", D 189
2883:
2882:An die Freude
2879:
2877:", D 170
2876:
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2869:
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2863:
2857:
2851:
2844:
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2837:
2832:
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2713:
2707:
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2699:
2694:
2690:
2686:
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2677:
2671:
2663:
2661:0-521-48229-1
2657:
2653:
2648:
2644:
2640:
2636:
2632:
2628:
2624:
2620:
2616:
2615:
2610:
2605:
2601:
2597:
2593:
2591:3-421-05051-1
2587:
2583:
2582:
2577:
2573:
2569:
2565:
2561:
2559:3-7618-0550-0
2555:
2551:
2547:
2546:
2541:
2537:
2533:
2527:
2523:
2519:
2518:Dürr, Walther
2515:
2511:
2507:
2503:
2501:3-7649-2082-3
2497:
2493:
2489:
2488:
2482:
2478:
2474:
2470:
2468:3-423-03261-8
2464:
2460:
2456:
2455:
2450:
2446:
2442:
2440:0-7546-0695-3
2436:
2432:
2428:
2423:
2419:
2413:
2409:
2405:
2400:
2396:
2392:
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2364:
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2344:
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2333:
2331:
2323:
2318:
2310:
2308:0-226-03861-0
2304:
2300:
2296:
2290:
2282:
2280:0-486-21563-6
2276:
2272:
2265:
2258:
2254:
2252:
2247:
2243:
2238:
2230:
2224:
2220:
2216:
2215:
2209:
2201:
2193:
2192:
2187:
2181:
2173:
2171:0-19-816150-6
2167:
2163:
2156:
2149:
2144:
2136:
2132:
2131:
2123:
2121:
2112:
2106:
2101:
2100:
2091:
2076:
2075:
2070:
2066:
2060:
2058:
2051:, p. 68.
2050:
2045:
2038:
2033:
2026:
2021:
2014:
2009:
2003:, p. 67.
2002:
1997:
1990:
1985:
1979:, p. 79.
1978:
1973:
1966:
1961:
1959:
1951:
1946:
1939:
1934:
1927:
1922:
1920:
1918:
1911:, p. 50.
1910:
1905:
1898:
1893:
1886:
1881:
1879:
1877:
1875:
1867:
1862:
1855:
1850:
1844:, p. 38.
1843:
1838:
1831:
1826:
1824:
1816:
1811:
1804:
1799:
1797:
1795:
1787:
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1713:
1710:
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1700:
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1655:
1652:
1649:
1644:
1640:
1635:
1633:
1629:
1619:
1615:
1613:
1601:
1598:Performed by
1585:
1561:
1557:
1553:
1549:
1540:
1537:
1533:
1529:
1528:Michael Volle
1525:
1516:
1513:
1509:
1505:
1496:
1491:
1486:
1473:
1469:
1468:
1467:
1465:
1461:
1457:
1452:
1448:
1444:
1440:
1436:
1433:composed his
1432:
1424:
1420:
1411:
1408:
1404:
1395:
1390:
1385:
1377:
1375:
1372:
1367:
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1357:
1353:
1348:
1345:
1335:
1331:
1330:
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1327:
1323:
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1311:
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1237:
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1219:
1216:
1212:
1208:
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1200:
1197:
1193:
1188:
1185:
1175:
1173:
1169:
1164:
1154:
1152:
1149:
1146:
1143:
1142:
1138:
1136:(F) → G minor
1135:
1133:
1131:
1130:
1126:
1117:
1114:
1111:
1110:
1106:
1104:
1101:
1099:
1097:
1096:
1092:
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1080:
1077:
1074:
1073:
1069:
1067:
1064:
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1058:
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1050:
1048:
1046:
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1039:
1035:
1032:
1029:
1028:
1024:
1022:
1013:
1010:
1007:
1006:
1002:
993:
990:
987:
986:
982:
980:
977:
974:
971:
970:
966:
964:
961:
958:
956:
955:
951:
948:
945:
942:
941:
938:
936:
921:
917:
916:
915:
906:
904:
899:
890:
879:
869:
866:
854:
853:
840:
836:
835:
834:
831:
830:
811:
801:
798:
786:
785:
772:
768:
767:
766:
758:
748:
745:
733:
732:
719:
715:
714:
713:
704:
692:
689:
675:
674:
661:
657:
656:
655:
652:
642:
632:
629:
617:
616:
603:
599:
598:
597:
582:
572:
569:
557:
556:
543:
539:
538:
537:
535:
531:
521:
511:
508:
496:
495:
482:
478:
477:
476:
467:
457:
454:
442:
441:
428:
424:
423:
422:
414:
410:
405:
403:
402:moto perpetuo
393:
390:
388:
384:
380:
369:
367:
363:
356:
354:
330:
308:
295:
286:
284:
279:
274:
272:
268:
264:
257:
252:
243:
241:
237:
233:
229:
225:
220:
217:
213:
209:
205:
201:
197:
194:, which sets
193:
189:
185:
184:
179:
175:
171:
162:
159:
155:
144:
140:
135:
128:
125:
124:
122:
118:
107:
103:
99:
95:
91:
87:
83:
81:
77:
73:
70:
66:
63:
60:
56:
51:
45:
40:
37:
33:
32:
27:
22:
19:
3731:
3724:
3717:
3710:
3703:
3696:
3689:
3682:
3675:
3668:
3661:
3654:
3647:
3640:
3633:
3626:
3619:
3602:
3582:
3576:
3575:
3568:
3561:
3554:
3519:
3509:Bardo Thodol
3507:
3502:Ars moriendi
3500:
3482:
3443:Architecture
3382:Funerary art
3343:
3336:
3329:
3324:Memento mori
3322:
3305:
3298:
3291:
3284:
3149:, D 957
3144:
3141:, D 911
3136:
3133:, D 795
3128:
3054:, D 776
3010:An die Musik
2991:Der Wanderer
2976:
2916:", D 77
2737:
2731:
2697:
2684:
2651:
2618:
2612:
2580:
2544:
2521:
2492:Gustav Bosse
2486:
2453:
2426:
2406:. Westport:
2403:
2378:
2372:
2341:
2317:
2298:
2289:
2270:
2264:
2249:
2237:
2212:
2200:
2190:
2180:
2161:
2155:
2143:
2129:
2098:
2090:
2078:. Retrieved
2072:
2044:
2032:
2020:
2008:
1996:
1984:
1972:
1945:
1933:
1904:
1892:
1861:
1849:
1837:
1817:, p. 8.
1810:
1786:Deutsch 1983
1765:
1754:
1746:
1740:
1733:
1726:
1711:
1706:
1690:
1687:Reitermarsch
1686:
1672:
1653:
1636:
1625:
1618:
1609:
1536:Ralf Weikert
1434:
1429:
1407:Gidon Kremer
1376:
1368:
1363:
1359:
1349:
1343:
1341:
1325:
1320:
1267:
1260:
1243:
1229:
1226:Arrangements
1220:
1209:
1201:
1189:
1181:
1160:
1150:
1102:
1082:
1065:
1037:
1014:
978:
962:
932:
907:
900:
885:
871:
856:
828:
827:
817:
803:
788:
764:
750:
735:
710:
694:
677:
651:chromaticism
648:
634:
619:
588:
574:
559:
527:
513:
498:
473:
459:
444:
406:
399:
391:
375:
359:
350:
306:
275:
260:
221:
186:composed by
181:
169:
167:
29:
18:
3677:Roman Widow
3515:Book of Job
3138:Winterreise
3080:Im Frühling
3017:Die Forelle
2914:Der Taucher
2875:Schwertlied
2381:: 139–147.
2322:Arnold 2002
2257:digitalised
2148:Arnold 2002
2013:Düring 1972
1965:Bodley 2003
1938:Bodley 2003
1926:Bodley 2003
1885:Bodley 2003
1803:Bodley 2003
1739:orchestral
1643:Baden-Baden
1423:Vilde Frang
1322:Franz Liszt
1236:Franz Liszt
994:G minor → B
534:subdominant
302: 1815
236:Franz Liszt
224:Franz Liszt
3805:1815 songs
3794:Categories
3527:Left Ginza
3494:Literature
3372:Death mask
3293:Consolatio
3286:Carpe diem
3024:Prometheus
2942:Amphiaraos
2866:Part songs
2429:. London:
2348:. Berlin:
2080:6 February
1989:Gibbs 1995
1854:Gibbs 1997
1842:Gibbs 1997
1830:Gibbs 1995
1815:Gibbs 1997
1770:References
1612:media help
1584:"Erlkönig"
1504:by Berlioz
1451:polyphonic
1172:submediant
952:Character
903:recitative
891:chord of A
889:Neapolitan
372:Characters
353:media help
329:"Erlkönig"
271:Carl Loewe
256:Josef Abel
180:328, is a
149:1821-03-07
3584:Totentanz
3191:Trinklied
3186:Ständchen
3181:Sehnsucht
3092:An Sylvia
3073:Ave Maria
3038:Der Zwerg
2754:0148-2076
2670:cite book
2635:0148-2076
2387:0941-9535
2350:Pentatone
2001:Dürr 2010
1554:with the
1530:with the
1464:pizzicato
1256:Max Reger
1248:orchestra
1155:Narrator
1051:→ G major
983:Narrator
935:semitones
396:Structure
387:tessitura
240:Max Reger
208:tessitura
68:Catalogue
3767:Erlkönig
3608:Guercino
3595:Painting
3577:Erlkönig
3397:Memorial
3345:Ubi sunt
3157:Multiple
2977:Erlkönig
2600:36534033
2578:(1996).
2542:(1976).
2520:(2010).
2477:11155442
2451:(1983).
2395:43858436
2297:(1982).
2067:(1990).
1548:by Reger
1524:by Liszt
1419:by Ernst
1403:by Ernst
1360:sensual
1310:by Liszt
1294:by Liszt
1258:(1914).
1232:arranged
1127:Erlking
1121:♭
1086:♯
1070:Erlking
1025:Erlking
1018:♭
997:♭
949:Tonality
946:Measures
929:Tonality
911:♯
894:♭
822:♭
592:♭
418:♯
413:arpeggio
383:triplets
379:ostinato
362:romantic
216:rhythmic
212:harmonic
198:'s poem
170:Erlkönig
157:Location
137:Premiere
105:Composed
94:Erlkönig
50:Diabelli
24:Erlkönig
3613:Poussin
3436:Artwork
3422:Tragedy
3412:Requiem
3356:Vanitas
3318:Macabre
3176:Romanze
2813:YouTube
2568:3317362
2510:1026995
2431:Ashgate
2361:Sources
2248:." In:
1622:Berlioz
1242:(1854;
1168:stretto
1151:G minor
1147:132–147
1115:117–131
1107:Father
1103:D minor
1066:C major
1054:Father
1038:B minor
979:G minor
963:G minor
865:
848:Verse 8
797:
780:Verse 7
744:
727:Verse 6
688:
669:Verse 5
628:
611:Verse 4
568:
551:Verse 3
532:to the
507:
490:Verse 2
453:
436:Verse 1
246:History
204:Erlking
147: (
120:Scoring
110: (
62:G minor
52:in 1821
3744:Poetry
3663:Plague
3427:Wreath
3392:Lament
3273:Themes
3164:Mignon
3117:Cycles
2905:Lieder
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1691:Lieder
1675:Weimar
1628:Prague
1558:under
1534:under
1439:German
1081:(E) →
1078:97–116
1036:(D) →
943:Verse
238:, and
161:Vienna
98:Goethe
3547:Music
3402:Mummy
3377:Elegy
3365:Forms
3265:Death
2850:Songs
2758:JSTOR
2639:JSTOR
2391:JSTOR
2346:(PDF)
1735:Reger
1730:Reger
1669:Liszt
1637:When
1456:stops
1089:minor
1062:86–96
1033:72–85
1021:major
1011:58–72
1000:major
991:37–57
975:16–36
959:1–15
530:tonic
409:scale
381:bass
129:piano
126:voice
3475:Film
3417:Tomb
2750:ISSN
2706:ISBN
2676:link
2656:ISBN
2631:ISSN
2596:OCLC
2586:ISBN
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2554:ISBN
2526:ISBN
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2463:ISBN
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2412:ISBN
2383:ISSN
2303:ISBN
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2166:ISBN
2105:ISBN
2082:2021
1741:Lied
1697:", "
1139:Son
1093:Son
1042:Son
901:The
269:and
214:and
192:1815
183:Lied
142:Date
112:1815
108:1815
89:Text
80:Opus
31:Lied
2852:by
2811:on
2742:doi
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174:Op.
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72:D
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