Analysis Of Franz Schubert, Erlkönig

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Franz Schubert, “Erlkönig” (1815)

List of six articles:
1. Newbould, Brian. Schubert Studies. Ashgate-England,1998.
2. Youens,Susan. Schubert Die Schone schöne Müllerin. Cambridge University Press-Great Britain,1999.
3. Newbould, Brian. Schubert the Progressive:”History, Performance Practice,Analysis”. Ashgate-England,2003.
4. Kamien,Roger. Music: an appreciation. Mcgraw-Hill-New York, 2011.
5. Stein,Deborah. ‘Schubert’s “Erlkönig:” Motivic Parallelism and Motivic Transformation’. 19th-Century Music, Vol.13, No.2 (Autumn,1989), pp.145-158. JSTOR 26 Sept. 2017 .
6. Chapman, Hugh Harding. ‘Two Poetic Techniques: Lorca’s “Romance de la luna, luna” and Goethe’s “Erlkonig”.’. Hispania, Vol. 39, No.4 (Dec. 1956), pp.450-455. JSTOR 26 Sept. 2017 .

Book : Schubert Studies
In 1815, after reading Goethe’s poem Der Erlkönig, Schubert was
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The poem is somehow related to depression which Schubert had at that time as sometimes it feels like death is chasing after you when you feel suicidal just like in the poem the Erlkönig, a supernatural being is trying get hold of the child through constant assailment on him and harming him.

Schubert’s Erlkönig got showcase for the first time at a professional concert using four tenors and four basses with a string orchestra instead of voice and piano accompaniment on 7 March, 1821 in the Kärntnertor. In 1864, Franz von Suppe also composed an one act opera, Franz Schubert, based on motives from Schubert’s Erlkönig. This is evidence that Schubert’s Erlkönig has gained recognition at that time.

In addition, the book stated that according to witnesses, Schubert did not have the piano technique in performing. Once he did stopped in the middle of the music and exclaimed “Let the devil play the stuff !

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