Gar schöne Spiele spiel' ich mit dir; In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure. "I love thee, I'm charm'd by thy beauty, dear boy! Dost see not the Erl-King, with crown and with train? His father claims to not see or hear the creature, and he attempts to comfort his son, asserting natural explanations for what the child sees – a wisp of fog, rustling leaves, shimmering willows. The boy shrieks that he has been attacked, spurring the father to ride faster to the Hof. "Erlkönig" is a poem by Johann Wolfgang von Goethe. 1 are concerned with untimely death, in this set only the "Erlkönig" has the supernatural element. Who rides, so late, through night and wind? My father, my father, and dost thou not hear Following the tonal scheme, each cry is a semitone higher than the last, and, as in Goethe's poem, the time between the second two cries is less than the first two, increasing the urgency like a large-scale stretto. Each of the Son's pleas becomes higher in pitch. Ludwig van Beethoven attempted to set it to music but abandoned the effort; his sketch however was full enough to be published in a completion by Reinhold Becker (1897). – „in seinen Armen“ steht. Die Sinndeutung der Ballade LITERATURVERZEICHNIS – What the Elf-king quietly promises me? Be calm, dearest child, 'tis thy fancy deceives; He holds him safely, he keeps him warm. The name translates literally from the German as "Alder King" rather than its common English translation, "Elf King" (which would be rendered as Elfenkönig in German). My mother has many a golden robe." – It horrifies the father; he swiftly rides on, – Wenn der Leser die Ballade liest, bekommt dieser unter Umständen den Eindruck, dass der Erlkönig den Jungen vergewaltigen möchte oder andere jedoch weiterhin sexuelle Ansichten hat. K. F. Molbech [da]) was published in translation as Erlkönigs Tochter. Siehst, Vater, du den Erlkönig nicht? The poem has been set to music by several composers, most notably by Franz Schubert "Erlkönig" starts with the piano playing rapid triplets to create a sense of urgency and simulate the horse's galloping. My father, my father, he seizes me fast, The story of the Erlkönig derives from the traditional Danish ballad Elveskud: Goethe's poem was inspired by Johann Gottfried Herder's translation of a variant of the ballad (Danmarks gamle Folkeviser 47B, from Peter Syv's 1695 edition) into German as Erlkönigs Tochter ("The Erl-king's Daughter") in his collection of folk songs, Stimmen der Völker in Liedern (published 1778). Finally the Elf King declares that he will take the child by force. The father it is, with his infant so dear; How the Erl-King his daughters has brought here for me? Der Sohn nimmt auf diesem Ritt den Erlkönig wahr, der Vater tut dies als Phantasie des Sohnes ab. My daughters by night their glad festival keep, Father, do you not see the Elf-king? The moto perpetuo triplets continue throughout the entire song except for the final three bars and mostly comprise the uninterrupted repeated chords or octaves in the right hand, established at the opening. An anxious young boy is being carried at night by his father on horseback. Mein Vater, mein Vater, jetzt faßt er mich an! He grasps in his arms the poor shuddering child; Auch von seiner Mutter spricht der Junge „meine Mutter“. The Erl-king, who is always heard pianissimo, does not sing melodies, but instead delivers insubstantial rising arpeggios that outline a single major chord (that of the home key) which sounds simultaneously on the piano in una corda tremolo. My daughters shall wait on you finely; Die am häufigsten verwendeten Stilmittel sind zum einen die Annäherung, welche bereits in der Zeilen drei und vier vorkommt und zum anderen die Alliteration. – Loewe's accompaniment is in semiquaver groups of six in 98 time and marked Geschwind (fast). – The absence of the piano creates multiple effects on the text and music.  Probably the next best known is that of Carl Loewe (1818). – It was originally written by Goethe as part of a 1782 Singspiel, Die Fischerin. – – Many colorful flowers are on the beach, – It depicts the death of a child assailed by a supernatural being, the Erlking, a kind of demon or king of the fairies.It was originally written by Goethe as part of a 1782 Singspiel, Die Fischerin. Other notable settings are by members of Goethe's circle, including the actress Corona Schröter (1782), Andreas Romberg (1793), Johann Friedrich Reichardt (1794) and Carl Friedrich Zelter (1797). Er hält in Armen das ächzende Kind, Upon reaching the destination, the child is already dead. – He reaches his courtyard with toil and with dread, – A few other 19th-century versions are those by Václav Tomášek (1815) and Louis Spohr (1856, with obbligato violin) and Heinrich Wilhelm Ernst (Polyphonic Studies for Solo Violin).