Composed by Franz Schubert in 1815, Der Erlkonig is A lieder for piano and voice. Incorporating a range of musical devices Der Erlkonig is based of a poem written by Johann Wolfgang von Goethe which tells the story of a distressed son riding with his father whilst being chased by the Erlkonig, a mischievous supernatural being. This analysis will look at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting.
The tonality plays a crucial role in establishing the overall mood of the piece whilst also signposting minor changes of mood experienced in the differing characters of the narrator, son, father, and Erlking. The narrator gives the context of the story and remains in a minor key throughout the piece. This establishes to the audience a dark and gloomy mood overall. Both the son and father remain in a minor key, and in regards to pitch, sings in the highest register. The contrast in tonality is observed in the Erlkonig’s dialogue, which is in a major key. This contrast gives a false confidence and playfulness to the Erlkonig as it goads the son. Schubert effectively utilises tonality to convey to the audience both the overall mood and the subtle changes. The piece ends with a plagal cadence, the fourth chord A major, resolves back to the first, D minor. In regards to dynamics, a large variety is used. The piece begins in forte but soon moves to pianissimo before eventually moving to mezzo forte. This type of dynamic movement is common throughout the piece. The structure has two verses and is strophic.
Schubert utilises melodic shape and contour throughout his piece to aid in the telling of the story. The melody is found in the vocal line which first appears with the narrator providing the setting of the story. Schubert shapes the melody similar to an arc and encourages great clarity in the phrasing which is a necessity for a storyteller. The Father is characterised by the melodic contour as unwavering and confident despite the situation as Schubert employs small steps between notes. The overall contour of the Father is more stagnant than varied which can be seen in bars 36-40, 51-54, and 80-85. Following the Father’s dialogue comes the son’s reply which see’s a varied use of contour as Schubert uses greater leaps in between notes. The audience gets a sense of trepidation from the son, he is unsure of himself, changing his mind just like the changing contour of the melody. This is seen in bars 41-50, 72-79 and 123-127.
The tonality plays a crucial role in establishing the overall mood of the piece whilst also signposting minor changes of mood experienced in the differing characters of the narrator, son, father, and Erlking. The narrator gives the context of the story and remains in a minor key throughout the piece. This establishes to the audience a dark and gloomy mood overall. Both the son and father remain in a minor key, and in regards to pitch, sings in the highest register. The contrast in tonality is observed in the Erlkonig’s dialogue, which is in a major key. This contrast gives a false confidence and playfulness to the Erlkonig as it goads the son. Schubert effectively utilises tonality to convey to the audience both the overall mood and the subtle changes. The piece ends with a plagal cadence, the fourth chord A major, resolves back to the first, D minor. In regards to dynamics, a large variety is used. The piece begins in forte but soon moves to pianissimo before eventually moving to mezzo forte. This type of dynamic movement is common throughout the piece. The structure has two verses and is strophic.
Schubert utilises melodic shape and contour throughout his piece to aid in the telling of the story. The melody is found in the vocal line which first appears with the narrator providing the setting of the story. Schubert shapes the melody similar to an arc and encourages great clarity in the phrasing which is a necessity for a storyteller. The Father is characterised by the melodic contour as unwavering and confident despite the situation as Schubert employs small steps between notes. The overall contour of the Father is more stagnant than varied which can be seen in bars 36-40, 51-54, and 80-85. Following the Father’s dialogue comes the son’s reply which see’s a varied use of contour as Schubert uses greater leaps in between notes. The audience gets a sense of trepidation from the son, he is unsure of himself, changing his mind just like the changing contour of the melody. This is seen in bars 41-50, 72-79 and 123-127.
Schubert again contrasts the melodic contour in the Erlking’s dialogue, where slowly the contour ascends and descends which reflects the luring and tempting of the son seen in bar 57-72. In bars 116-123 the Erlking reveals his true desires and the contour reflects this forcefulness with quick descending steps.
Rhythm is a crucial tool to the success of the piece and is utilised by Schubert in a range ways. The beginning of the piece heavily relies on the use of rhythm, Schubert employs an ostinato in the form of repeated triplets which drive the piece at an allegro pace which helps create suspense.
Rhythm is a crucial tool to the success of the piece and is utilised by Schubert in a range ways. The beginning of the piece heavily relies on the use of rhythm, Schubert employs an ostinato in the form of repeated triplets which drive the piece at an allegro pace which helps create suspense.
This rhythmic idea is paired with an ascending triplet run followed by three descending crotchets that enhance the suspense and tension. Again in bars 57-72 another motif is born when Schubert uses a simple dotted minim and crotchet rhythm which gives clarity to the Erlking’s dialogue. Furthermore he contrasts this simple rhythm with a short and unexpected triplet, which illustrates to the audience, playfulness, allure and disguise. In bars 72-79 the piano becomes busier as the triplet ostinato is paired with minims in the bass clef. With each accented minim played urgency is heard in the music. Commonly seen in the Father’s dialogue is a combination of crotchets and quavers, which give the father a matter of fact, confident tone due to the shorter note values in bars 80-85. These rhythmic elements combined throughout the piece create mood and significantly aid the story telling process. In regards to further aspects of duration, the metre is 4/4, the beat is definite and the tempo is allegro.
One characteristic of a lieder is that the performing media is only piano and vocals. The relationship between these two instruments is key in the development of this piece in particular. At three points throughout the piece this relationship is particularly significant. Firstly in bars 15-32 a tied minim and semibreve in the piano introduces the vocal melody by placing an emphasis on the melody.
One characteristic of a lieder is that the performing media is only piano and vocals. The relationship between these two instruments is key in the development of this piece in particular. At three points throughout the piece this relationship is particularly significant. Firstly in bars 15-32 a tied minim and semibreve in the piano introduces the vocal melody by placing an emphasis on the melody.
This is used commonly throughout the piece and directs the
audience to the both the melody and lyrics. The second point occurs at bars
116-123 when the Erlkonig reveals it’s true forceful nature towards the boy.
Paired with triplets in the treble clef, semibreves are also used to reinforce
and emphasise this moment. Finally at bars 128 through to 144 Schubert come’s
to the conclusion of the piece and employs a recitative. In this recitative
stand alone chords in the piano add finality to the melody. It’s in this
instance that the relationship between piano and voice is seen so clearly. In regards to texture, the piece is homophonic, as there is one melody with accompaniment.
As I’ve briefly mentioned with reference to melodic contour, word painting plays a significant role in conveying the story to the audience. The melodic contour during the piece is often seen in the Father’s dialogue. At the beginning of the piece the contour is steady and firm, conveying the strength and confidence in the father. This changes towards the end of the piece as he becomes unsure of the situation. In Bar 105-112 the melody is no longer in steps but leaps conveying the worry felt by the father for his son. Word painting used by Schubert achieves an accurate portrayal of the story
Franz Schubert has effectively written Der Erlkonig using the musical elements of tonality, melodic shape and contour, rhythm, the relationship between the piano and the voice, and word painting. This German lieder conveys to the audience both the story and the mood taking all on a journey.
As I’ve briefly mentioned with reference to melodic contour, word painting plays a significant role in conveying the story to the audience. The melodic contour during the piece is often seen in the Father’s dialogue. At the beginning of the piece the contour is steady and firm, conveying the strength and confidence in the father. This changes towards the end of the piece as he becomes unsure of the situation. In Bar 105-112 the melody is no longer in steps but leaps conveying the worry felt by the father for his son. Word painting used by Schubert achieves an accurate portrayal of the story
Franz Schubert has effectively written Der Erlkonig using the musical elements of tonality, melodic shape and contour, rhythm, the relationship between the piano and the voice, and word painting. This German lieder conveys to the audience both the story and the mood taking all on a journey.