Hallows 2014, Day 5: Der Erlkönig

If you were going to sit down and just focus on any song in this countdown, make it this one. Take four and a half minutes, and treat yourself. Follow along with the lyrics below, and enjoy being thoroughly spooked by the end (in a breathtakingly artistic way, of course). When I showed this to my students last week, the song ended, and they all looked up at me wide-eyed and slightly, deliciously horrified. I had the same reaction when I was introduced to this piece as an undergrad.

“Der Erlkönig”
Music by Franz Schubert, 1815; lyrics by Goethe

Schubert was precocious. By the time he died at the age of 31, he’d written over 600 lieder or German art songs, several chamber works, and nine symphonies. He pulled “Der Erlkönig” out of his hat when he was only 18, and it is among the best known and most celebrated songs of his 600 lieder.

“Der Erlkönig” tells the story of a father riding home late at night on his horse, holding his young son in his arms by his side. As they ride, the son cries out in fear of the Erlking (sometimes translated as the Elf King, sometimes not) who whispers in the son’s ear and wishes to steal him away.

erlkonig

Part of what makes “Der Erlkönig” fabulous is how the soloist and accompanist work together to paint the scene. The accompanist maintains a triplet pattern in the right hand throughout the piece that is, like the horse’s frantic galloping it represents, physically exhausting.

erlking piano

The soloist, meanwhile, covers four characters. In order of their appearance, they are:

  1. Narrator—middle register, minor mode
  2. Father—low register, minor mode; reassuring
  3. Son—high register, minor mode; frightened
  4. Erlking—medium range, major mode; coaxing, then insistent

Dietrich Fischer-Dieskau, the soloist featured in this version, inflects each of these parts slightly differently, and watching him capture the characters while still not overacting is part of the genius of his performance. Notice that Schubert makes the Erlkönig frightening by putting his lines in a major mode, kind of like a scary clown. I love that this was effectively creepy back in 1815 too, 199 years ago.
 
So what happens in the story? Well, you have to listen and find out. Follow the text and English translation below.

TEXT
TRANSLATION

NARRATOR (minor mode, middle range)

Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
er hat den Knaben wohl in dem Arm,
er fasst ihn sicher, er hält ihn warm.
Who rides so late through night and wind?
It is a father with his child;
he has the boy close in his arm,
he holds him tight, he keeps him warm.

 

FATHER (low range)

“Mein Sohn, was birgst du so bang dein Gesicht?”
“My son, why do you hide your face in fear?”

 

SON (high range)

“Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron’ und Schweif?”
“Father, don’t you see the Erlking?
The Erlking with his crown and train?”

 

FATHER (low range)

“Mein Sohn, es ist ein Nebelstreif.”
“My son, it is a streak of mist.”

 

ERLKING (major mode, melodic)

“Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel’ ich mit dir;
manch’ bunte Blumen sind an dem Strand;
meine Mutter hat manch’ gülden Gewand.”
“You dear child, come with me!
I’ll play very lovely games with you.
There are lots of colorful flowers by the shore;
my mother has some golden robes.”

 

SON (high range, frightened)

“Mein Vater, mein Vater, und hörest du nicht,
was Erlenkönig mir leise verspricht?”
“My father, my father, don’t you hear
the Erlking whispering promises to me?”

 

FATHER (low range, calming)

“Sei ruhig, bleibe ruhig, mein Kind;
in dürren Blättern säuselt der Wind.”
“Be still, stay calm, my child;
it’s the wind rustling in the dry leaves.”

 

ERLKING (major mode, cajoling)

“Willst, feiner Knabe, du mit mir geh’n?
Meine Töchter sollen dich warten schön;
meine Töchter führen den nächtlichen Reih’n
und wiegen und tanzen und singen dich ein.”
“My fine lad, do you want to come with me?
My daughters will take care of you;
my daughters lead the nightly dance,
and they’ll rock and dance and sing you to sleep.”

 

SON (high range, dissonant outcry)

“Mein Vater, mein Vater, und siehst du nicht dort,
Erlkönigs Töchter am düstern Ort?”
“My father, my father, don’t you see
the Erlking’s daughters over there in the shadows?”

 

FATHER (low range, reassuring)

“Mein Sohn, mein Sohn, ich seh’ es genau,
es scheinen die alten Weiden so grau.”
“My son, my son, I see it clearly,
it’s the gray sheen of the old willows.”

 

ERLKING (loving, then insistent)

“Ich liebe dich, mich reizt deine schöne Gestalt,
und bist du nicht willig, so brauch’ ich Gewalt.”
“I love you, your beautiful form delights me!
And if you’re not willing, then I’ll use force.”

 

SON (high range, terrified)

“Mein Vater, mein Vater, jetzt fasst er mich an!
Erlkönig hat mir ein Leids gethan!”
“My father, my father, now he’s grasping me!
The Erlking has hurt me!”

 

NARRATOR (middle register, speechlike)

Dem Vater grauset’s, er reitet geschwind,
er hält in Armen das ächzende Kind,
erreicht den Hof mit Müh und Noth:
in seinen Armen das Kind war todt.
The father shudders, he rides swiftly,
he holds the moaning child in his arms;
with effort and urgency he reaches the courtyard:
in his arms the child was dead.
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2 thoughts on “Hallows 2014, Day 5: Der Erlkönig”

  1. So, I’m officially creeped out. I liked this one. It’s interesting how each time period has their way of creating suspense, fear, horror, etc. I often think of that chunk of emotions a product of our time with cinema and special effects, but I guess ghost stories have always been popular. Thanks for sharing this one!

    Like

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