Franz Peter Schubert, born in Vienna, Austria, on January 31, 1797, was the fourth son of Franz Theodor Schubert, a schoolmaster, and Elizabeth Vietz, a domestic servant. His father was a Moravian peasant, while his mother was the daughter of a Silesian master locksmith. Franz had three older brothers, Ignaz, Karl, and Ferdinand, and a younger sister, Maria Theresa.
Schubert was an Austrian composer who wrote over six hundred romantic songs, operas, symphonies, sonatas, and many other works. His family cultivated Schubert’s love of music, and he had close contact with the brothers Kupelwieser, his librettist Joseph, and the painter Leopold. In 1818, the family of Count Johann Esterházy had four siblings.
Schubert had one big brother, three brothers of similar ages, and a little sister. His immediate siblings were Ignasz Schubert (1785-1844), Elisabeth Schubert (1786-1788), Karl Schubert (1787-1789), and Franziska Magdalena Schubert (1788-1788).
Schubert had four brothers: Johann Karl Schubert and three other siblings. His wife, Franz had one sister, Grete / Margarete Winternitz (born Schubert). At the age of six, his older brother Ignaz gave him his first piano lessons. Franz quickly surpassed his brother’s abilities, and he was the twelfth child in a family of fourteen.
Sadly, nine of his siblings died as infants. Although Schubert did not have a personal relationship with his parents, the two Schubert brothers, Karl and Franz Theodor, left their father’s farm in Neudorf, Moravia, got an education in Brünn, and then migrated to Vienna.
| Article | Description | Site |
|---|---|---|
| Franz Schubert | His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of … | en.wikipedia.org |
| Franz Schubert | Biography, Music, & Facts | Franz was their fourth surviving son. His elder brothers were Ignaz, Karl, and Ferdinand, and there was a younger sister, Maria Theresa. The … | britannica.com |
| Franz Peter Schubert’s family – Figures of Speech | As we have seen, Franz Peter had one big brother, three brothers of similar ages and a little sister. Of course, his immediate siblings were … | figures-of-speech.com |
📹 Franz Schubert: Erlkönig
Daniel Norman – Tenor Sholto Kynoch – Piano Jeremy Hamway-Bidgood – Director & designer The soundtrack is taken from …
How Many Children Did Franz Theodor Schubert Have?
Franz Peter Schubert was born on January 31, 1797, in Vienna, Austria, as the fourth son of Franz Theodor Schubert, a Moravian schoolmaster, and his wife Elisabeth Vietz, a domestic servant. Schubert came into a family with a tragic history; of his father’s fourteen children, including one illegitimate child born in 1783, nine did not survive infancy. In total, Franz Theodor had fifteen children, only five of whom lived beyond childhood. Schubert received his initial music education from his father and eldest brother, learning to play the viola and organ, as well as music theory.
The family struggled, especially between 1788 and 1793 when they endured significant hardships. Despite these challenges, Franz Theodor Schubert worked as a respected teacher in Lichtental, Vienna. Franz Peter was the thirteenth child in a large and tumultuous family. He had three elder brothers—Ferdinand, Ignaz, and Petrus—and one younger sister, Maria Theresia, born in 1801. Tragically, Franz Peter would be the first of his siblings to die, passing away in 1828. Schubert's family background shaped his artistic journey, nurturing his musical talents while confronting the harsh realities of life.
Who Were Franz Peter Schubert'S Parents?
Franz Peter Schubert, born on January 31, 1797, in the Himmelpfortgrund suburb of Vienna, was the fourth surviving son of Franz Theodor Schubert, a schoolmaster, and Elisabeth Vietz, a domestic servant. Schubert's father, who came from a Moravian peasant background, and his mother, born of a Silesian locksmith, were not married when their first child was born, creating an unconventional family dynamic.
Franz Theodor met Elisabeth shortly after moving to Vienna in 1784, and married her, ultimately having several children, including brothers Ignaz, Ferdinand Lukas, Franz Karl, and sister Maria Theresia.
Schubert's musical talents were nurtured from a young age by his family; his father instructed him in playing the violin and piano. Schubert's remarkable gifts became evident early on, leading his father to enter him in a proficiency test for choristers, judged by the notable Antonio Salieri. Although his father hoped for Franz to pursue a teaching career, he instead gained fame as a composer. Schubert's life, though brief, was marked by significant contributions to music, culminating in his death on November 19, 1828, in Vienna.
Who Was Schubert In Love With?
Franz Peter Schubert, the Austrian composer of the late Classical and early Romantic eras, produced a remarkable body of work despite his short life, including over 600 secular vocal pieces, seven symphonies, and extensive chamber music. In 1814, Schubert fell in love with soprano Therese Grob, writing several songs for her as expressions of his affection. However, due to the marriage consent laws of the empire, he could not marry her, as he struggled to earn enough as a teacher to support both of them. Therese, who was a year or two younger than Schubert, later married the master baker Johann Bergmann in 1820, suggesting she was unaware of Schubert's feelings for her.
Additionally, Schubert became infatuated with another young woman, Countess Caroline Esterházy, one of his piano students. He dedicated his piano piece, the "Fantasie in F minor," to her, but it appears she did not reciprocate his affections. Throughout his life, Schubert's love interests inspired numerous compositions, and his music became a staple in private musical gatherings among the middle class.
Schubert's familial background, with a father as a schoolmaster and a nurturing environment, helped cultivate his passion for music from an early age. While his love stories remained largely unfulfilled, they significantly influenced his creative output.
How Many Wives Did Franz Schubert Have?
Franz Schubert was an Austrian composer born on January 31, 1797, near Vienna, who lived until November 19, 1828. He remains a prominent figure bridging the late Classical and early Romantic music eras, leaving a rich legacy that includes over 600 secular vocal works, seven complete symphonies, sacred music, operas, incidental music, and a substantial amount of piano and chamber music. Despite his prolific output, Schubert never married. Although he had feelings for a young soprano named Therese Grob, the consent law enacted in 1815 required him to prove his financial stability before marrying.
Schubert was the fourth of five surviving children in his family, born to Franz Theodor Schubert, a schoolmaster, and Elisabeth Vietz, who nurtured his musical talents from an early age. Throughout his life, he remained a bachelor and was known for his dedication to music rather than family life. His works and melodies are celebrated today, and he is regarded as one of the greatest composers in Western classical music history.
Despite never marrying, Schubert’s influence continues to be profound, and his music is widely performed and appreciated. Tragically, he passed away at the young age of 31, leaving behind a remarkable body of work that would later earn him posthumous recognition.
Is Franz Schubert A Good Composer?
Franz Peter Schubert (31 January 1797 – 19 November 1828) was an influential Austrian composer, recognized among the foremost figures of the late Classical and early Romantic eras. Born in Vienna, Schubert's immense talent flourished despite his brief life; he passed away at the age of 31. His prolific output includes over 600 secular vocal works, particularly Lieder, as well as symphonies, sacred music, operas, and chamber music.
Schubert's melodic inventiveness and harmonic depth positioned him alongside classical luminaries like Haydn, Mozart, and Beethoven, earning him a place as one of the "great pillars" of Classical music.
Though largely unrecognized during his lifetime, Schubert's work gained posthumous acclaim. Critics celebrate his capacity to infuse songs with profound emotion and thematic complexity, influencing the development of Romantic music. Notably, his Symphony No. 9 in C is a testament to his symphonic mastery. Described as "the most poetic of composers" by Liszt, he envisioned themes of love, joy, solitude, and lofty ideals, which resonate deeply with listeners. Schubert's legacy endures, as his music continues to be performed worldwide, affirming his status as a true musical genius and a pivotal figure in the history of Western classical music.
How Many Schuberts Are There?
The Schubert family, consisting of six members—Franz Theodor (36), Elisabeth (43), Ignaz (14), Ferdinand Lukas (5), Franz Karl (4), and Franz Peter (2)—resides at Zum schwarzen Rößl, now Säulengasse 3. Franz Theodor established a school here in 1810. Franz Peter Schubert (1797–1828), a prolific Austrian composer, significantly influenced the late Classical and early Romantic music eras, producing over 600 secular vocal works (primarily Lieder), seven complete symphonies, sacred music, operas, and varied chamber pieces despite his short life.
His major compositions include the masterpieces Erlkönig and over 250 songs composed between 1815 and 1816, many inspired by Goethe. Schubert is often regarded as bridging the gap between Classical and Romantic music, being one of the last Classical composers and early Romantic figures. He completed several significant works, and attempts have been made to publish his entire catalog. His chamber music features over 20 string quartets, and his orchestral contributions total thirteen symphonies. Schubert's melodic and harmonic innovations are notable, demonstrating his creative brilliance, embodying a musical legacy that underscores his place in history as one of the great composers.
Did Schubert And Beethoven Meet?
Franz Schubert and Ludwig van Beethoven are two iconic figures in classical music, whose lives overlapped in early 19th-century Vienna. Schubert, who was born after Mozart's time and only 12 years old when Haydn passed away, did encounter Beethoven, although their relationship was minimal. Johann Friedrich Rochlitz, a publishing figure, mentions an 1822 meeting where Schubert discussed Rochlitz with Beethoven and recalled specifics of this encounter.
Despite the close proximity of their musical circles, definitive evidence of a meeting between Schubert and Beethoven is lacking. On his deathbed, Beethoven was shown some of Schubert's compositions and expressed admiration for them, yet some suggest he may have been unaware of Schubert's existence previously.
There is anecdotal evidence hinting they could have met during social gatherings, but these instances remain speculative. Schubert reportedly spotted Beethoven across a crowded café but did not approach him, illustrating his hesitance. Many narratives imply a connection, while Beethoven’s known reluctance to engage with young prodigies complicates the issue. Ultimately, although Schubert and Beethoven's paths crossed in Vienna, the extent of their acquaintance remains ambiguous, with some asserting that they did not truly meet. Their brief interactions demonstrate a complex dynamic of admiration without substantial personal connection.
Who Was Franz Schubert?
Franz Peter Schubert (January 31, 1797 - November 19, 1828) was an Austrian composer pivotal in the transition from the Classical to the Romantic era. Born in Vienna, he developed a profound musical education, with his father teaching him violin and his brother instructing him in piano. Schubert's prolific output includes over 600 secular vocal works, primarily lieder (art songs for voice and piano), seven symphonies, operas, and a significant body of chamber and piano music.
Despite a life cut short at 31 years, he has had a lasting impact on classical music, earning the description of "the most poetic of composers" from Liszt. Schubert's works explore deep human emotions, contributing to his reputation as a central figure in 19th-century music. His compositions, such as symphonies and operas, alongside his innovative approach to song, helped redefine lieder and influenced future generations of composers. Schubert’s legacy as a master of melody and harmony endures, marking him as one of the finest composers in history.
Who Was Schubert Buried Next To?
Franz Schubert was buried next to Beethoven, as per his request, in the village cemetery of Währing, Vienna, after his death on November 19, 1828, at age 31. Schubert admired Beethoven throughout his life and had even served as a torchbearer at Beethoven's funeral, demonstrating his deep respect. Initially, both composers were interred in what later became known as "Schubert Park," located near the Volksoper.
In the 1880s, their remains were relocated to the newly opened Zentralfriedhof (Central Cemetery) in Vienna, where they now rest alongside other notable composers such as Johann Strauss II and Johannes Brahms.
The relocation in 1888 saw Schubert laid to rest in grave 28, group 32A, not far from Beethoven, fulfilling Schubert's "dying wish." There is a poignant anecdote from Schubert’s final moments, where he, in a state of delirium, expressed uncertainty about whether he was buried beside Beethoven. His family’s efforts ensured he was as close as possible to the composer he revered. In 1872, a memorial for Schubert was established in Vienna's Stadtpark, celebrating his significant contributions to music. The bond between the two composers extends even in death, as they remain united in one of Vienna's most famous cemeteries.
Who Did Schubert Get Syphilis From?
Franz Schubert, the renowned composer, contracted syphilis in late summer 1822 at the age of 25 during a night out with his friend Franz von Schober in Vienna, a city where the disease was prevalent. Schubert's relationships with prostitutes likely exposed him to syphilis, a condition common among many artists of the time. His health deteriorated, showing symptoms including a recurring rash, patchy hair loss, chills, and muscle aches, which he attempted to mask with a wig.
Although diagnosed with typhoid fever, some historians speculate that syphilis may have contributed to his death at only 31 years old in November 1828. The conversation about Schubert's health concerning syphilis began in 1907 with Otto Deutsch, who noted indirect references to the illness in contemporaneous accounts of Schubert's life. Given the state of medicine in the pre-antibiotic era, syphilis was not only common but often treated with questionable methods such as mercuries.
While some debate exists regarding the accuracy of his diagnosis, the legacy of Schubert’s struggle with this disease remains a poignant aspect of his biography, reflecting the life of a man whose talent flourished amidst personal turmoil.
📹 A Brief History of Franz Schubert
Happy 2023! I’ll be releasing some new videos this year, so be sure to subscribe to the channel for updates! I also host monthly …
My favorite thing about this piece is the singer’s vocal range and how he portrays each character. The son, given his situation, is frantic with fear, and the performer’s tenor voice in his parts give off that emotion. The father’s bass is sturdy, yet also seems frantic, as if the father knows what lies behind him and is trying to convince himself it isn’t real. And lastly, the Elfking’s voice is so rich and melodious. It’s conniving and so persuading, perfectly terrifying and beautiful.
Here’s a detailed explanation of this song Erlkonig was composed in 1815 by Franz Schubert, and the Genre is Lied. The source was from a poem by Johann Wolfgang von Goethe, inspired by the German legend of the Erlking, who was a sinister supernatural elf who dwells in the forest. Anyone that touches him would die. The form is durchkomponiert, and the performing forces are solo voice and piano. The key was originally in G minor, the tempo is Schnell, or fast, and the meter is 4/4. In the piano introduction, there are vigorous octave triplets in the right hand that depicts the house galloping. The arched melody in the left hand evokes the stormy night and howling wind. A mood of foreboding urgency and agitation is established. In this piece, there are four characters that are depicted in the poem: the narrator, the son, the father, and the Erlking. Schubert does an excellent job distinguishing each character from one and another clearly. The narrator’s voice stays in the middle register. The father’s notes are pitched in the lower register, and his legato phrases attempt to maintain a calm mood. The son returns the singer’s voice to the upper register, suggesting his youth. The Erlking sings in the middle register addressing the boy with an insincere sweetness that does not fool the child. From bar 37-40, there is rounded tone in the lower register that projects the father’s reassuring message to his son. From bar 57-61, there is the major mode used for the Erlking’s text as he lures the boy cloaking his sinister intentions and creating an eerie atmosphere.
I see in the comments that the singer is getting all the praise for portraying each character so well, but it is Franz Schubert who wrote it like that. There is also a lot more subtlety than just the pitch (e.g. that the father is in a low pitch, which is reassuring). The father at first reassures in a major key telling the boy “it is just a streak of mist” (“Mein Sohn, es ist ein Nebelstreif”). Then as the boy continues to insist he responds in part in major and part in minor. Finally although his voice is still at a low pitch his final reassurance is completely in a minor key, which indicates a lot of concern. Another interesting point is that the Erlking also keeps moving up in pitch faster than the boy. Finally he moves up a third from C to Eb while the boy moves up a second from Amin to Bbmin and this where the boy is overtaken in the song. Lastly, again using major and minor the first two times the Erlking speaks to the boy are enticing and are in a major key, but the final time when he says “Und bist du nicht willig, so brauch ich Gewalt” (“if you don’t come willingly, I’ll use force.”) this is in a minor key. The singer executes it well although I am no critic to say so, but all the recognition for how great it is belongs to Franz Schubert.
and for those who would sing along 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. „Mein Sohn, was birgst du so bang dein Gesicht?” „Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif?” „Mein Sohn, es ist ein Nebelstreif.” „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.” „Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” „Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.” „Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.” „Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” „Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.” „Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” „Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!” Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.
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. Mein Sohn, was birgst du so bang dein Gesicht? – Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif? – Mein Sohn, es ist ein Nebelstreif. – “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.” – Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht? – Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind. – “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” – Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort? – Mein Sohn, mein Sohn, ich seh’ es genau: Es scheinen die alten Weiden so grau. – “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch’ ich Gewalt.” – Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan! – Dem Vater grauset’s; er reitet geschwind, Er hält in den Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinen Armen, das Kind war tot.
I listened this a hundred times in the past but just now i finally noticed the point. The voice of the son is in fear and it gradually becomes more and more terrified. The voice of the Elfking is calm and persuasive, it is melodious and creepy at the same time. But the father is different, at 1:15 when the son says the Elfking is near his face in the animation changes to fear. Both the son and the Elfking sing continuously, but he is the only one who makes a short pause before finishing every speech, he knows his son is already lost he just can’t believe yet. The father can see the Elfking there, he is just trying to convince himself and the son that they are gonna be okay in the end, but he knows he can’t outrun the Elfking no matter what. In the end of the song the singer says “anxious he reaches the farm”, the father knew he was there all the time. This song is a masterpiece by Franz Shubert and i love every second of it!
Translations: 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?” “Father, do you not see the Elf-king? The Elf-king with crown and cape?” “My son, it’s a streak of fog.” “You dear child, come, go with me! Very beautiful games I play with you; Many colorful flowers are on the beach, My mother has many a golden robe.” “My father, my father, and do you not hear What the Elf-king quietly promises me?” “Be calm, stay calm, my child; Through dry leaves the wind is sighing.” “Do you, fine boy, want to go with me? My daughters shall wait on you finely; My daughters lead the nightly dance, And rock and dance and sing to bring you in.” “My father, my father, and don’t you see there The Elf-king’s daughters in the gloomy place?” “My son, my son, I see it clearly: There shimmer the old willows so grey.” “I love you, your beautiful form entices me; And if you’re not willing, then I will use force.” “My father, my father, he’s touching me now! The Elf-king has done me harm!” It horrifies the father; he swiftly rides on, He holds the moaning child in his arms, Reaches the farm with great difficulty; In his arms, the child was dead.
I played this as a pianist and the singer insisted this was about child rape and a Dad that wouldn’t listen. I understand you could interpret it this way, but boy oh boy is it much more fun and dramatic and musically more engaging when you perform this with the idea the child is dying and hallucinating, or that there is an actual Elf king sucking the life out of the child,
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? – Look, father, the Erl-King is close by our side! Dost see not the Erl-King, with crown and with train? – My son, ’tis the mist rising over the plain. – “Oh, come, thou dear infant! oh come thou with me! 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 father, my father, and dost thou not hear The words that the Erl-King now breathes in mine ear? – Be calm, dearest child, ’tis thy fancy deceives; ‘Tis the sad wind that sighs through the withering leaves. – “Wilt go, then, dear infant, wilt go with me there? 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.” – My father, my father, and dost thou not see, How the Erl-King his daughters has brought here for me? – My darling, my darling, I see it aright, ‘Tis the aged grey willows deceiving thy sight. – “I love thee, I’m charm’d by thy beauty, dear boy! And if thou’rt unwilling, then force I’ll employ.” – My father, my father, he seizes me fast, For sorely the Erl-King has hurt me at last. – The father now gallops, with terror half wild, He grasps in his arms the poor shuddering child; He reaches his courtyard with toil and with dread, – The child in his arms finds he motionless, dead.
I love how Schubert uses an A flat major chord (also called a Neapolitan chord) on the “he reaches the courtyard weary and anxious” line, which gives the listener (even me, even though I’ve heard it many times) a fleeting moment of hope, only to be shattered by the singer’s last words “war tot”. A stroke of genius!
You can say what you want about the German language but those English subtitles and translations just show how poetic German is in comparison to English. German may not sound like french but we have so many words that have a deeper meaning. Here an example even English speakers will understand: Kindergarten. You know why it’s called that way? Children garden? It‘s a place that was created to make children feel like they are in the Eden garden, a paradise for children where everybody is welcomed. Or Zeitgeist, the ghost/spirit of time, you really see how people thought about life back then. They saw the aura of an era as a person, a ghost. Isn’t that beautiful? Or Wortschatz, vocabulary or directly translated word treasure, it’s like your own little treasure of words that you are able to express yourself with and use whenever you like. And the best is we have ton of such words in the German language but people here have forgotten how beautiful the meaning of those words are. Kinda sad
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. “Mein Sohn, was birgst du so bang dein Gesicht?” – “Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?” – “Mein Sohn, es ist ein Nebelstreif.” “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.” – “Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” – “Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind.” – “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” – “Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” – “Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. –” “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” – “Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!” – Dem Vater grauset’s, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh’ und Not; In seinen Armen das Kind war tot.
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. “Mein Sohn, was birgst du so bang dein Gesicht?” – “Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?” – “Mein Sohn, es ist ein Nebelstreif.” “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.” – “Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” – “Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind.” – “Willst, feiner Knabe, du mit mir gehen? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” – “Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” – “Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. –” “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” – “Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!” – Dem Vater grauset’s, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh’ und Not; In seinen Armen das Kind war tot.
Everybody write about great animation, and song, but I would like to thank the singer and pianist for awesome performance!!! I can clearly see the erlkönig, child and father from singer’s performance! And pianist make the right atmosphere, and follows the singer, also I think this piece is difficult. I have listened to many performances, but I liked this the most! Very interesting.
This was amazingly made. Everything about it was brilliant and chilling and tragic. The piano was really good, I loved the leitmotif of about the 8 or 9 notes. The animation was really good as well. The fact that they could make paper be expressive really impressed me! Like when the father’s expressions CHANGED. That was so cool! They made paper have emotion! That’s talent! And of course the singer was incredible. I don’t speak German at all but I could hear the desperation, the charm and allure, and the uncertainty. Damn, the last scene where they reach the ‘farm’ which is the concert hall, and the child dies on stage! What the heck was that?! It shook me to my core! It made the story more personal and immersive. I went from “oh damn I’m perusal a movie” to “OH GOD THE BOY DIED IN AISLE 2” This is freaking fantastic Edit: just remembered! The elf king himself was really well made! He’s so spooky and ghostlike, and every time he melted away into wind or breeze or moonlight it was very well done and I loved it so much
Johann Wolfgang von Goethe 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. Mein Sohn, was birgst du so bang dein Gesicht? – Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif? – Mein Sohn, es ist ein Nebelstreif. – “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.” Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht? – Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind. – “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort? – Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. – “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan! – Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinen Armen das Kind war tot. 1782
Lyrics here (because I want to sing along): 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. “Mein Sohn, was birgst du so bang dein Gesicht?” “Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?” “Mein Sohn, es ist ein Nebelstreif.” “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.” “Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” “Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind.” “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” “Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” “Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.” “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” “Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!” Dem Vater grauset’s, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh’ und Not; In seinen Armen das Kind war tot.
In all his life, Franz Schubert saw and heard only one of his symphonies in person, the rest of his works were all heard in his infinite mind because couldn’t afford the expense of paying all those musicians, but also because musicians couldn’t comprehend the complexity of his variations, it was only 200 years after his death that they understood that this man was a genius…A true artist, who lived purely for his art… in my opinion He’s the most underated composer of all time.
I am really thrilled by this, I love it, all of it! The music, the animation style, the playing, the singing, thanks for this! Also thanks for including the translation in the captions, it wouldn’t have been the same without. Also thanks Schubert and who ever wrote the actual story for all of this, thank you! Also anyone else here from Sideways?
This is one of the most famous “Lieder” (“art songs”) of all time. But everyone should realize, it is based on one of the most famous poems in the world,,,,,,,,,,,certainly the most famous German poem, written by the man who is rightfully considered the German “Shakespeare” — Johann Wolfgang von Goethe. That’s the reason why so many people here report being required to memorize and recite the poem in German class — both in Germany and elsewhere, including the USA. (I memorized it for 11th grade German class in Northeastern Ohio.) If you only know one German poem,,,,,,,,,this is the one. (The second would be Schiller’s “Ode to Joy” – “An die Freude”. That poem was set to music by Beethoven in the famous last movement to his 9th Symphony, which one hears a lot. “Ode to Joy” is definitely the direct opposite of the dark, Gothic vision portrayed in Erlkönig.) I encourage everyone to read the wikipedia article about Elf King. “Each one, teach one.” en.wikipedia.org/wiki/Erlk%C3%B6nig_(Goethe)
Лесной Царь И. Гете (перевод В. А. Жуковского) Кто скачет, кто мчится под хладною мглой? Ездок запоздалый, с ним сын молодой. К отцу, весь издрогнув, малютка приник; Обняв, его держит и греет старик. “Дитя, что ко мне ты так робко прильнул?” – “Родимый, лесной царь в глаза мне сверкнул: Он в темной короне, с густой бородой”. – “О нет, то белеет туман над водой”. “Дитя, оглянися; младенец, ко мне; Веселого много в моей стороне: Цветы бирюзовы, жемчужны струи; Из золота слиты чертоги мои”. “Родимый, лесной царь со мной говорит: Он золото, перлы и радость сулит”. – “О нет, мой младенец, ослышался ты: То ветер, проснувшись, колыхнул листы”. “Ко мне, мой младенец; в дуброве моей Узнаешь прекрасных моих дочерей: При месяце будут играть и летать, Играя, летая, тебя усыплять”. “Родимый, лесной царь созвал дочерей: Мне, вижу, кивают из темных ветвей”. – “О нет, все спокойно в ночной глубине: То ветлы седые стоят в стороне”. “Дитя, я пленился твоей красотой: Неволей иль волей, а будешь ты мой”. – “Родимый, лесной царь нас хочет догнать; Уж вот он: мне душно, мне тяжко дышать”. Ездок оробелый не скачет, летит; Младенец тоскует, младенец кричит; Ездок погоняет, ездок доскакал… В руках его мертвый младенец лежал.
lyrics: 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 Mein Sohn, was birgst du so bang dein Gesicht? Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif? Mein Sohn, es ist ein Nebelstreif 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 Mein Vater, mein Vater und hörest du nicht Was Erlenkönig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind In dürren Blättern säuselt der Wind Willst feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön Meine Töchter führen den nächtlichen Reim Und wiegen und tanzen und singen dich ein Und wiegen und tanzen und singen dich ein Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düsteren Ort? Mein Sohn, mein Sohn, ich seh es genau Es scheinen die alten Weiden so grau Ich liebe dich, mich reizt deine schöne Gestalt Und bist du nicht willig, so brauch ich Gewalt Mein Vater, mein Vater, jetzt fasst er mich an Erlkönig hat mir ein Leid getan Dem Vater grauset’s, er reitet geschwind Er hält in den Armen das ächzende Kind Erreicht den Hof mit Müh’ und Not In seinen Armen das Kind war tot
I know the story behind this, so it seems less pedophilic. A boy is rushing to a hospital or at least someone who can treat his flu and he is dying. His father is rushing as fast as possible but he is slipping closer and closer to death, which is what the elf king represents. The story is death telling the boy to come but no matter how well he avoids it, death always wins eventually.
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. “Mein Sohn, was birgst du so bang dein Gesicht?” “Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?” “Mein Sohn, es ist ein Nebelstreif.” “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.” “Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” “Sei ruhig, bleib ruhig, mein Kind; In dürren Blättern säuselt der Wind.” “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” “Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” “Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.” “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” “Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!” Dem Vater grauset’s, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh’ und Not; In seinen Armen das Kind war tot.
To think Hypergryph or rather their game Arknights referenced this piece in the Zwillingsturme im Herbst event, considering the main villain is a caprinae who is infamously named the Witch King. That company been cooking good on lore and real world references. Especially with the German music references.
I found this article by pure coincidence and (surprisingly) not through anime, despite the fact I am a huge anime fan haha. I actually found it whilst listening to some of Bach’s pieces and seeing it in the recommendations. At first I was a bit hesitant to click on it but I’m so glad I did! This song is amazing and the animation is absolutely incredible 🙂
J’ai cliqué sur tant de vidéos liées, à travers tant de paysages insolites, incroyables et étranges… Je me sens comme dans un compartiment sur un chemin de fer, à admirer une succession de scènes folles jamais vues auparavant, des musiques importantes et étranges à travers la fenêtre du wagon… il y a tant de choses à explorer, tellement d’endroits où se poser puis rester dans les ambiances proposées. Cet arrêt en particulier est génial !!!
The story: A boy and a father are returning home when the Erlking starts chasing after them. The Erlking tries to persuade the child to come with him and the father tries to calm the boy down. The boy gets more and more scared and the father tries to calm the boy down even more. Finally, the Erlking “hurts” the boy and after they reach the farm the audience has a little bit of hope that they survived, but at the end, it says “war tot” which means “is dead”. The concluding sentence “In seinen Armen das Kind … war tot.” means “In his (The Father’s) arms the child … was dead”
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. 2. Mein Sohn, was birgst du so bang dein Gesicht? Siehst Vater, du den Erlkönig nicht! Den Erlenkönig mit Kron’ und Schweif? Mein Sohn, es ist ein Nebelstreif. 3. 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. 4. Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind, In dürren Blättern säuselt der Wind. 5. Willst feiner Knabe du mit mir geh’n? Meine Töchter sollen dich warten schön, Meine Töchter führen den nächtlichen Reihn Und wiegen und tanzen und singen dich ein. 6. Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düsteren Ort? Mein Sohn, mein Sohn, ich seh’es genau: Es scheinen die alten Weiden so grau. 7. Ich lieb dich, mich reizt deine schöne Gestalt, Und bist du nicht willig, so brauch ich Gewalt! Mein Vater, mein Vater, jetzt faßt er mich an, Erlkönig hat mir ein Leids getan. 8. Dem Vater grauset’s, er reitet geschwind, Er hält in den Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not, In seinen Armen das Kind war tot.
Un maravilloso poema y una magnífica adaptación musical, enmarcadas aquí por un fantástico trabajo de ilustración. Muy remarcable la capacidad dramatúrgica del tenor, su versatilidad al reproducir las partes del hijo, del padre, del rey de los elfos, cambiando sutilmente el color de su voz y transportándonos al galope con el vigoroso piano hasta el trágico final de la historia. Excelente!
“Ich lieb dich, mich reitzt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt!” “Mein Vater, mein Vater, jetzt fasst er mich an! Der Erlkönig hat mir ein Leid getan!” Egal wie oft ich dieses Lied höre, bei dieser Strophe läuft mir immer ein kalter Schauer über den Rücken. Der Text allein ist schon schauerlich, aber mit dieser phänomenalen Umsetzung natürlich umso mehr.
I had this in school (kinda a basic of German literature) and there are many theories about it. You may wonder what the hell is an Erlkönig? You may know that König King means and the Erl part should have been named Elf but was a translation mistake. About the story, there are many theories about it but here are some that I had in class: 1.The poem was published in an area that we call „Sturm und Drang” (idk if it existed internationally) if you don’t know what its meaning is, it is basically an area when young people stood up against the authoritarians, it was the enlightenment part 2., if you would like to call it that. There’s the father who denies every possibility of the Erlkönig and isn’t really open to any kind of magic or nature because he only believes what he thinks is right (basically the rational thinker at the time) and there is his son he already knows that he is about to die, he is open and he sees the magical Erlkönig. I think it kind of symbolizes that the elders‘ and authoritarians‘ actions were wrong. The child obviously wanted his father to protect him and spent the last minutes with him but the father is so in denial and thinks he can make life work according his plans. 2. then there is this interpretation that the son is beginning puberty and exploring his sexuality but it dealing badly with it and the father tries to stop him. 3. Then there a really dark one, if you can’t handle something dark, don’t read this. So the father is abusing/raping his son and the Erlkönig symbolizes his dark side but the father in the poem is trying to convince himself that he‘s a good father.
I’ve always loved this piece, but this is the best performance! The piano is gorgeous, but really, the singer sells each character. The Narrator is calm, simply telling the tale of this tragedy and establishing the setting. The Father, sung in a lovely baritone is rich and reassuring to his son. The Son is desperate, sung in a tenor voice gets more desperate as the piece progresses. And finally the Erl-King is charming and creepy, especially when the singer says “I will take you by force” in German, it goes from clean and sweet to downright sinister in an instant, which sent chills down my spine. Also, this is truly exciting to my synesthesia, something about this singer’s timbre just hits that spot. This is my favorite performance of this piece, by far.
My mother was the kind of mom who had me reading the original versions of fairy tales & books like Tom Sawyer & Fahrenheit 451 by 2nd grade. Looking back it’s probably where I got my dark humor & cynical view of the world..but I also learned why safety rules were so important from a very very young age…
This is downright the most successful (and truly frightening!) visual depicion of the song. Kudos for Kynoch and Norman for not making this about vocalism or theatrics. Norman sacrifices quite a lot of tonal beauty, unlike most famous interpreters of the role, to get the text and expression across. He is telling a story and living the characters from within, not trying to create some mini-opera using extrovert vocal colorings (aka Jessye Norman) and he is rarley caught up in the gothic ‘atmosphere’ and piling up mannerisms, unlike many famous Lied singers. This direct and fresh approach is so much more terrifying IMO. There’s this, the 1950s Fischer-Dieskau, the Lehmann, the Charles Panzera in French. Then there’s Waltraud Meier on article – not really adding much vocally but her ability to act with the facial muscles WHILE singing is unique, as well as her interpretation – absolutely thrilling.
“Erlking” Who rides so late through the night and wind? It’s the father with his child; He has the boy safe in his arm, He holds him secure,he holds him warm. “My son, what makes you hide your face in fear?” – Father, don’t you see the Erlking? The Erlking with the crown and flowing robe? “My son, it’s a wisp of fog.” – “You dear child, come along with me! Such lovely games I’ll play with you; Many colorful flowers are at the shore, My mother has many a golden garment.” My father, my father, and do you not hear What the Erlking promises me so softly? – “Be quiet, stay quiet, My child; In the dry leaves the wind is rustling.” – “Won’t you come along with me, my fine boy? My daughters shall attend to you so nicely. My daughter’s do their nightly dance, And they’ll rock you and dance you and sing you to sleep.” My father, my father, and do you not see over there Erlking’s daughters in that dark place? – “My son, my son, I see it most definitely: It’s the willow trees looking so grey.” “I love you; I’m charmed by your beautiful form; And if you’re not willing, then I’ll use force.” My father, my father, now he’s grabbing hold of me! Erlking has done me harm! – The father shudders, he rides swiftly, He holds in (his) arms the moaning child. He reaches the farmhouse with effort and urgency. In his arms the child was dead.
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. “Mein Sohn, was birgst du so bang dein. Gesicht?” – “Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?” – “Mein Sohn, es ist ein Nebelstreif.” “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.” – “Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” – “Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind.” – “Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein.” – “Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” – “Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau. –” “Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” –”Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!” – Dem Vater grauset’s, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh’ und Not; In seinen Armen das Kind war tot.
Deutscher Text: 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. Mein Sohn, was birgst du so bang dein Gesicht? Siehst Vater, du den Erlkönig nicht! Den Erlenkönig mit Kron’ und Schweif? Mein Sohn, es ist ein Nebelstreif. 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. Mein Vater mein Vater und hörest du nicht? Was Erlenkönig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind, In dürren Blättern säuselt der Wind. Willst feiner Knabe du mit mir geh’n? Meine Töchter sollen dich warten schön, Meine Töchter führen den nächtlichen Reihn Und wiegen und tanzen und singen dich ein. Mein Vater mein Vater und siehst du nicht dort? Erlkönigs Töchter am düsteren Ort? Mein Sohn, mein Sohn, ich seh’es genau: Es scheinen die alten Weiden so grau. Ich liebe dich, mich reizt deine schöne Gestalt Und bist du nicht willig, so brauch ich Gewalt! Mein Vater, mein Vater, jetzt faßt er mich an, Erlkönig hat mir ein Leids getan. Dem Vater grauset’s, er reitet geschwind Er hält in den Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not, In seinen Armen das Kind war tot
Erlkönig 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. „Mein Sohn, was birgst du so bang dein Gesicht?” „Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif?” „Mein Sohn, es ist ein Nebelstreif.” „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.” „Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?” „Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.” „Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.” „Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?” „Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.” „Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.” „Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!” Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot. – Johann Wolfgang von Goethe
the is a father riding on horseback through a dark forest while carrying his son. The child is delirious and terrified, claiming to see the Erlking, a malevolent spirit who tries to lure children to their deaths. The father attempts to reassure his son that what he sees is just mist and shadows, but as they ride on, the Erlking’s presence becomes more menacing. As the father rides faster to reach safety, the Erlking whispers promises of comfort and riches to the child, trying to entice him. Despite the father’s efforts to shield his son from harm, the Erlking’s persuasive words eventually lead to tragedy as the child dies in his father’s arms as they arrive at their destination.
Lyrics: 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 Mein Sohn, was birgst du so bang dein Gesicht? Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif? Mein Sohn, es ist ein Nebelstreif 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 Mein Vater, mein Vater und hörest du nicht Was Erlenkönig mir leise verspricht? Sei ruhig, bleibe ruhig, mein Kind In dürren Blättern säuselt der Wind Willst feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön Meine Töchter führen den nächtlichen Reim Und wiegen und tanzen und singen dich ein Und wiegen und tanzen und singen dich ein Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düsteren Ort? Mein Sohn, mein Sohn, ich seh es genau Es scheinen die alten Weiden so grau Ich liebe dich, mich reizt deine schöne Gestalt Und bist du nicht willig, so brauch ich Gewalt Mein Vater, mein Vater, jetzt fasst er mich an Erlkönig hat mir ein Leid getan Dem Vater grauset’s, er reitet geschwind Er hält in den Armen das ächzende Kind Erreicht den Hof mit Müh’ und Not In seinen Armen das Kind war tot
Oh i remember this article, it was an embarrassing story. So my Teacher turned YouTube on and put that article on the whiteboard, since it was our first time seeing something like this. We all started to laugh but i was the one who laughed the mos and then i drank water but i choked, everyone was staring at me but i was laughing and chocking at the same time. That was so embarrassing😭😳😮
My father could recite Goethe’s “Erlkönig” when he was 97, just a few years ago . It was very moving to hear. It was a poem he had learnt, by heart, in 1930, when he went to school in Krakow, Poland. I always believed the poem was about a child’s illness and death – and the real demons that follow us all.