Music Erlkonig

MUSIC 4

Music

Erlkonig

Erlkonig is the title of a songwritten by Schubert when he was merely 18 years old. Frank Schubertset this song in the year 1815 it was based on the same poem namewritten in 1782 by a poet known as Johann Wolfgang. This song runsfor four minutes, and the impact left behind is extremely remarkable.It is considered to be one of the best-written songs by such a youngperson. The song was written for only two performers, a singer and apianist, and it caused tension and drama whenever it was performed.During his brief career, Frank was partly inspired by his friendshipwith numerous musicians and managed to come up with six hundred worksof art. The poem by Johann provides a text for this song, and it hasits root in Scandinavian folktales. It presents one of thesupernatural tales that existed in the famous time of romantic era.The poem describes a boy who used to hallucinate being courted by asupernatural being named Erl King. The boy used to hear and see thisErl-king and he was so terrified until one day he died after the kingseized him. Frank used this poem to create a horror situation. Heused several devices to heighten the dreadfulness of the poem.Although one person sang the song, it personified with four people,Erl King, Father, the boy and the narrator. Each time the boy wouldsing with high pitched voice due to the growing hysteria while thefather would sing with an even and steady voice. The Erl-King sangwith a sweet bulging voice at first, but as he grew impatient withthe boy, his voice became croaky at the end.

Pierrot Lunaire, No. 18, &quotTheMoonfleck.&quot

Schoenberg began his work of artin March 1884and finished in July 1912. His piece of art was made upof three groups of seven poems. Group one had information about love,sex, and religion. The second group supported violence, crime, andblasphemy. The last group was on his return home to Bergamo with hispast haunting him. Schoenberg had fascinations in numerology. Most ofhis work had similar numbers. He also incorporated seven-note motifsin his entire work. His assembly had seven people, 21 pieces of theoeuvre which had 21 poems, and it begun on March 12, 1912. Othercommon numbers were 3 and 13: each of the poems had 13 lines whilethe first line of each poem is repeated three times in each stanza.

According to Ward (1990), canon,fugue, rondo, Passacaglia and free counterpoint are among the varietyof classical forms and techniques in Pierrot Lunaire. The wholeassembly plays together in 11th, 14th and only 4th setting with anincorporation of variation of the combination of instrumentsinclusive of doublings in between movements. The instrumentsconsisted of flute, clarinet, violin, cello, and piano. Afternumerous rehearsal sessions, Schoenberg together with Zehme presentedthe poem or rather the song in Berlin Choralion-Saal in October 1912.During their performance, reactions were mixed among the audience, atfirst there was excitement, whistles and laughter but at the end, thesuccess was disqualified. People criticized some words in the textsaying they were blasphemous, but Schoenberg said if the text wasmusical then there was no need to listen to the words.

Reference

Ward, John M. (1990). Apropos theBritish Broadside Ballad and its Music. Journalof the American Musicological Society,Vol. 20 no. 5: 28-86.