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1639:. As recalled by Berlioz in his memoirs, the two composers were soon drawn into an argument comparing Tomášek's composition to Schubert's: "Someone (for there are people who find fault with everything) drew a comparison between the accompaniment of this piece and that of Schubert's ballad, in which the furious gallop of the horse is reproduced, and declared that M. Tomášek had mimicked the placid gait of a priest's nag. An intelligent critic, however, more capable than his neighbours of judging of the philosophy of art, annihilated this irony, and replied with great good sense: 'It is just because Schubert made that unlucky horse gallop so wildly that it has foundered, and is now forced to go at a foot pace.'"
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arranges a simplified version of them, and would be so curious to see how it would turn out, would it be the original version by
Schubert?' Sometimes not: Liszt has made changes and additions; the way he has done it testifies to the powerful nature of his play, his conception; others may think differently. It boils down to the old question whether the performing artist may place himself above the creative artist, whether he may reshape the latter's works at will for himself. The answer is easy: we laugh at a fool if he does it badly, we allow a witty one if he does not downright destroy the meaning of the original. In the school of piano playing, this kind of arrangement marks a special chapter."
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often noticed that the performance of songs in symphonic concerts has suffered greatly due to the fact that the gentlemen conducting were not really the best accompanists. This grievance will be remedied by the instrumentation; and dragging an extra grand piano on to the stage will not even be necessary... After having rehearsed daily for two whole winters, as it were, with the
Meiningen Court Orchestra, and having performed many songs (solo songs!) with the orchestra, I know precisely how to orchestrate such matters."
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1749:. He wrote: "To my ear, it is often a real insult to have to listen to a singer, following an orchestral piece in a gigantic hall, performing lieder to the spindly accompaniment of a piano in the huge space. But it goes without saying that one must make a very careful choice of the songs to be orchestrated."
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The music intensifies further, Schubert once again creating tension through the "galloping motif". The grace notes in the voice line suggest the father's horror, and the music accelerates on the words "er reitet geschwind" (he swiftly rides on). A final allusion to the father's tonality of C minor is
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After a long introduction of fifteen measures, the narrator raises the question "Wer reitet so spät durch Nacht und Wind?" and accentuates the key words "Vater" (father) and "seinem Kind" (his child) in the reply. A link between "Wind" and "Kind" is suggested in the placement in a major tonality. The
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Before the
Erlking speaks again, the ominous bass motif foreshadows the outcome of the song. The Erlkönig's luring now becomes more insistent. He threatens the boy, the initial lyricism and playfulness yielding to a measured declamation, with the "passing note motif" being voiced both in the treble
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major, placing emphasis on the words "liebes" (dear) and "geh" (go). The descending intervals of the melody seems to provide a soothing response to the boy's fear. Though the
Erlking's seductive verses differ in their accompanying figurations (providing some relief for the pianist), they are still
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in
December 1911, Reger seems to have used the orchestra to experiment in orchestration. Between 1913 and 1914, he completed 45 orchestral arrangements of songs written by himself and others. He wrote to his publisher: "The instrumentation will ensure that the singer is never 'muffled'. I have so
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reported. During the 1820s and 30s, "Erlkönig" was unanimously acclaimed among the
Schubert circle, critics and general audiences, with critics hailing the work as "a masterpiece of musical painting", "a composition full of fantasy and feeling, which had to be repeated", "an ingenious piece" that
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The four characters in the song – narrator, father, son, and the
Erlking – are all sung by a single vocalist. The narrator lies in the middle range and begins in the minor mode. The father lies in the lower range and sings in both minor and major mode. The son lies in a higher range, also in the
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has highlighted the piano accompaniment in the setting, which he describes as having a "compositional life of its own", with important motifs such as the repeated octaves that create an eerie, suspenseful atmosphere. Furthermore, Fischer-Dieskau praised the "magnificent tragedy" of the setting.
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wrote: " have found a great deal of interest among the public. Performed by Liszt, they are said to be of great effect, and those who are not masters of the piano will try to play them to no avail. They are perhaps the most difficult works that exist for piano, and a witty person said, 'if one
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The Erlkönig's enticement intensifies. The piano accompaniment transforms into flowing major arpeggios that may refer to the dances of the
Erlking's daughters and the troubled half-sleep of the child. The presence of the daemonic is once again highlighted by the "passing note motif". As in the
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in the son's melody indicates a call to his father, creating dissonances between the vocal part and the bass that evoke the boy's horror. The harmonic instability in this verse allude to the child's feverish wandering. The father's tonal center becomes increasingly distant from the child's,
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nature, the solo violin having to perform the narrator, the Erlkönig, the father, and the child (4 independent voices) in their different vocal colourations, but also the complete piano accompaniment at the same time. This is accomplished through the use of double, triple and quadruple
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claims that it was written in a few hours one afternoon. He revised the song three times before publishing his fourth version in 1821 as his Opus 1. The work was first performed in concert on 1 December 1820 at a private gathering in Vienna. The public premiere on 7 March 1821 at the
307:"Erlkönig" exists in four versions by Schubert's hand, with the 3rd version featuring a simplified piano accompaniment without triplets in the right hand. The original (for medium voice) is in the key of G minor, though there are also transposed editions for high and low voice.
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wrote of the arrangement: "From the finely wrought and polished score no one could suspect anything of the anxiety, illness, or conflicts in his heart and soul. It is delicate, poignant, full of insight into
Schubert's masterpiece – a compendium of art concealing itself."
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wrote on the arrangements: "Most, like Liszt's transcriptions of the Lieder or
Berlioz's orchestration for Erlkönig, tell us more about the arranger than about the original composer, but they can be diverting so long as they are in no way a replacement for the original."
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it appeals to the great unwashed and the squeaky-clean in equal measure, to those who see something symbolic in the poem, and to those who simply love a rattling good yarn excitingly told. It was that rare thing: a hit that absolutely deserved to be."
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that slips chromatically into the next key. 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
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in 1860, Berlioz was too willing, as he felt that Schubert's piano accompaniment was essentially orchestral in nature. The arrangement was premiered at Baden-Baden on 27 August 1860, and was published in Paris the same year. Berlioz's biographer
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remarked on these octaves: "Those scales, so numerous and so rapid, whose rolling, like that of the thunder, made the listeners tremble with terror, who else but Liszt, in order to increase their sonority, would have dared play them in octaves?"
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major, as the father spurs his horse to go faster and then arrives at his destination. Before this chord is resolved, the triplet motif stops, and the final rendition of the "passing note motif" in the bass seems to seal the fate of the boy.
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performed "Erlkönig" before Goethe in 1830, he is reported by Eduard Genast to have said: "I have heard this composition once before, when it did not appeal to me at all; but sung in this way the whole shapes itself into a visible picture".
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characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century".
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The piece is regarded as challenging to perform due to the multiple characters the vocalist is required to portray, as well as its difficult accompaniment, involving rapidly repeated chords and octaves.
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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 that were established at the opening.
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Joseph von Spaun sent the composition to Goethe, hoping to receive his approval for a print. The latter, however, sent it back without comment, as he categorically rejected Schubert's form of the
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The son's fear and anxiety in response to the Erlking's words is highlighted by the immediate resumption of the original triplet motif, just after the Erlking finishes his verse. The
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major to D minor, with the Erlking appropriating the minor tonality originally associated with the father and his child. The boy cries out to his father a final time, heard in
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A fifth character, the horse on which the father and boy are riding, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats.
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musical realization that represents the various rational and irrational elements of Goethe's ballad by contrasting yet unifying musical elements. Its form is the
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Berlioz's arrangement is scored for two flutes, oboe, English horn, two clarinets, two bassoons, three horns, two trumpets, timpani, strings, and solo voice.
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Liszt's arrangement is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, harp, strings, and solo voice.
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273:, though no work would become as preeminent as Schubert's, which stands among the most performed, reworked and recorded compositions ever written.
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1768:". In the work, the restless piano accompaniment is performed by the strings, with the flute supporting the seductive sound of the Erlkönig.
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leaves an "indelible impression". No other performance of Schubert's work during his lifetime would receive more attention than "Erlkönig".
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song; although the melodic motives recur, the harmonic structure is constantly changing and the piece modulates within the four characters.
1714:(S. 375). Ben Arnold notes the irony that Berlioz's arrangement, his only transcription of a Schubert song, was written in the same year.
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to D major implies a "submission to the daemonic forces", followed by the final cadence delivering "a perfect consummation to the song".
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Liszt performed his "Erlkönig" 65 times during his tours of Germany between 1840 and 1845, more than any of his operatic paraphrases.
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2260: Part 4 Verlag der typogr.-literar.-artist. Anstalt (L. C. Zamarski, C. Dittmarsch & Comp.), Vienna 1858, p. 73 (
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writes that "Erlkönig is one of those songs that defies age (the composer's, particularly) and defines an age. Like Beethoven's
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400:"Erlkönig" begins with the piano playing rapid triplets to create a sense of urgency and simulate the horse's galloping. The
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excitement still further, belonged his playing of Schubert’s Erlkönig, a work widely known and heard, and yet now heard
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years, with many of his major works having been published, Liszt turned his attention to orchestral transcriptions. On
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Reger's arrangement is scored for flute, oboe, two clarinets, bassoon, two horns, timpani, strings, and solo voice.
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Memoirs of Hector Berlioz: From 1803 to 1865, Comprising His Travels in Germany, Italy, Russia, and England
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based on triplets, not letting the daemonic presence be forgotten. The "passing note motif" is used twice.
2278:. Translated by Holmes, Rachel Scott Russell; Holmes, Eleanor. New York: Dover Publications. p. 413.
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After a short piano interlude, the Erlking starts to address the boy in a charming, flattering melody in B
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In the introduction, the left hand of the piano part introduces an ominous bass motif composed of rising
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The premiere in 1821 was an immediate success; the large audience broke out in "rapturous applause", as
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verse ends where it started, in G minor, seemingly indicating the narrator's neutral point of view.
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2374:"Sturm und Drang Spirit in Early Nineteenth-Century German Lieder: the Goethe-Schubert 'Erlkönig'"
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in the accompaniment until the boy's death. Schubert places each character largely in a different
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The son cries out to his father, his fear again illustrated in rising pitch and chromaticism.
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Among Schubert's most famous works, the piece has been arranged by various composers, such as
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minor mode. The Erlking's vocal line, in the major mode, provides the only break from the
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Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches
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The father's question to his son is harmonically supported by a modulation from the
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and in the bass. Upon the word "Gewalt" (force), the tonality has modulated from E
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was a great success, and quickly propelled the young composer to fame in Vienna.
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1202:"Erlkönig" has had enjoyed enduring popularity since its inception to this day.
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Erlking's first verse, the octave triplets resume immediately after the verse.
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Goethe's poem was set in music by at least a hundred composers, including
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Reger's arrangement of "Erlkönig" was completed in 1914, together with "
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2733:"Schubert's 'Erlkönig:' Motivic Parallelism and Motivic Transformation"
2306:(Phoenix ed.). Chicago: University of Chicago Press. p. 359.
2193:(1854). "Phantasieen, Capricen etc. für Pianoforte (2): Dritte Reihe".
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The "Mein Vater, mein Vater" music appears three times on a prolonged
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Erlkönig-Vertonungen. Eine historische und systematische Untersuchung
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suggesting a rivalry over possession of the boy with the Erlking.
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Franz Schubert. Verzeichnis seiner Werke in chronologischer Folge
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The Enjoyment of Music: An Introduction to Perceptive Listening
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Berlioz and His Century: An Introduction to Age of Romanticism
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1694:(S. 363/3) have been a success, he decided to orchestrate six
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asked him to orchestrate Schubert's work for a performance in
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Possible portrait (retouched) of Schubert c. 1814, painted by
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Auf den Spuren der Schubert-Lieder. Werden - Wesen - Wirkung
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1254:(1860; H. 136, NBE 22b), Franz Liszt (1860; S. 375/4) and
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Commenting on Liszt's arrangements of Schubert's Lieder,
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Schubert composed "Erlkönig" at the age of 18 in 1815 –
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Musical settings of poems by Johann Wolfgang von Goethe
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2614:""Komm, geh' mit mir": Schubert's Uncanny "Erlkönig""
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which portrays the increasingly desperate situation:
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Portrait of Liszt: By Himself and His Contemporaries
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1238:(1838, revised 1876; S. 558/4), for solo violin by
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2256:Biographisches Lexikon des Kaiserthums Oesterreich
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1324:arranged "Erlkönig" for solo piano as part of his
806:And if you're not willing, then I will use force."
2529:(in German) (3rd ed.). Kassel: Bärenreiter.
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1764:", "Gruppe aus dem Tartarus", "Prometheus", and "
791:Und bist du nicht willig, so brauch' ich Gewalt."
789:"Ich liebe dich, mich reizt deine schöne Gestalt;
736:"Mein Vater, mein Vater, und siehst du nicht dort
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2258:(Biographical Lexicon of the Empire of Austria).
793:"Mein Vater, mein Vater, jetzt fasst er mich an!
499:"Mein Sohn, was birgst du so bang dein Gesicht?"
48:Title page of the first edition as published by
3222:List of compositions by Franz Schubert by genre
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2108:. University of California Press. p. 407.
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1358:: "To a quite different sphere, increasing the
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2274:Berlioz, Hector (1966). Newman, Ernest (ed.).
751:"My father, my father, and don't you see there
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1901:
1752:After he was appointed music director of the
872:It horrifies the father, he swiftly rides on,
620:"Mein Vater, mein Vater, und hörest du nicht,
2801:Grand Caprice sur 'Le Roi des Aulnes', Op.26
933:The song has a tonal scheme based on rising
808:"My father, my father, he's touching me now!
804:"I love you, your beautiful form excites me;
703:They rock and dance and sing you to sleep."
514:"My son, why do you hide your face in fear?"
3689:Self-Portrait with Death Playing the Fiddle
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2196:Gesammelte Schriften über Musik und Musiker
1454:". The work is characterized by its highly
686:Sie wiegen und tanzen und singen dich ein."
682:Meine Töchter führen den nächtlichen Reihn,
460:Who rides, so late, through night and wind?
16:Lied by Franz Schubert set to Goethe's poem
3696:Skull of a Skeleton with Burning Cigarette
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2688:Machlis, Joseph; Forney, Kristine (2003).
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684:Und wiegen und tanzen und singen dich ein,
641:The wind is rustling through dry leaves."
635:"My father, my father, and do you not hear
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2805:International Music Score Library Project
2795:International Music Score Library Project
2785:International Music Score Library Project
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1913:
1686:'s request, who was the conductor of the
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753:Erlking's daughters in the gloomy place?"
740:"Mein Sohn, mein Sohn, ich seh' es genau:
701:And rock and dance and sing you to sleep,
360:Schubert's adaptation of "Erlkönig" is a
3227:Schubert opus/Deutsch number concordance
2189:
2169:. Oxford: Clarendon Press. p. 178.
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1726:Erl King – arrangement by Liszt bars 1–4
1234:for various settings: for solo piano by
874:He holds the groaning child in his arms,
857:Dem Vater grausets, er reitet geschwind,
757:There shimmer the old willows so grey."
466:He holds him safely, he keeps him warm.
445:Wer reitet so spät durch Nacht und Wind?
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876:Reaches the farm with great difficulty;
680:Meine Töchter sollen dich warten schön;
678:"Willst, feiner Knabe, du mit mir gehn?
579:Some colorful flowers are on the beach,
564:Manch' bunte Blumen sind an dem Strand,
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3217:List of compositions by Franz Schubert
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1889:
1807:
742:Es scheinen die alten Weiden so grau."
697:My daughters shall wait on you finely;
695:"Do you, fine boy, want to go with me?
566:Meine Mutter hat manch gülden Gewand."
503:Den Erlenkönig mit Kron' und Schweif?"
501:"Siehst, Vater, du den Erlkönig nicht?
451:Er fasst ihn sicher, er hält ihn warm.
288:
3779:Do not go gentle into that good night
3242:
2827:
2799:Arrangement for solo violin (Ernst):
2654:
2611:
1993:
1858:
1846:
1834:
1819:
626:In dürren Blättern säuselt der Wind."
622:Was Erlenkönig mir leise verspricht?"
577:Very lovely games I'll play with you;
562:Gar schöne Spiele spiel' ich mit dir;
2789:Arrangement for solo piano (Liszt):
2521:
2005:
851:
783:
730:
699:My daughters lead the nightly dance,
672:
624:"Sei ruhig, bleibe ruhig, mein Kind;
614:
554:
516:"Father, do you not see the Erlking?
505:"Mein Sohn, es ist ein Nebelstreif."
493:
439:
2894:Gesang der Geister über den Wassern
2791:12 Lieder von Franz Schubert, S.558
2657:The Cambridge Companion to Schubert
2379:International Journal of Musicology
859:Er hält in Armen das ächzende Kind,
560:"Du liebes Kind, komm, geh mit mir!
13:
3765:Because I could not stop for Death
2724:
2655:Gibbs, Christopher Howard (1997).
1721:
1663:
1574:
1475:
1332:
1246:, Op. 26), and for solo voice and
918:
861:Erreicht den Hof mit Müh' und Not;
837:
795:Erlkönig hat mir ein Leids getan!"
769:
755:"My son, my son, I see it clearly:
738:Erlkönigs Töchter am düstern Ort?"
716:
658:
637:What Erlking quietly promises me?"
600:
581:My mother has some golden robes."
575:"You dear child, come, go with me!
540:
479:
449:Er hat den Knaben wohl in dem Arm,
425:
317:
14:
3846:
3805:Lieder composed by Franz Schubert
2774:
2199:. Leipzig: Georg Wigand’s Verlag.
878:In his arms, the child was dead.
863:In seinen Armen das Kind war tot.
520:"My son, it is a streak of fog."
518:The Erlking with crown and tail?"
447:Es ist der Vater mit seinem Kind;
3758:And death shall have no dominion
3703:Sleep and His Half-Brother Death
2074:"Introduction to Erlkönig, D328"
1615:Problems playing this file? See
1607:with the Victor Orchestra (1913)
1593:
1547:
1523:
1515:with the Insula Orchestra under
1503:
1448:Grand Caprice für Violine allein
1413:
1397:
1304:
1288:
1244:Grand Caprice für Violine allein
351:Problems playing this file? See
333:
3731:The Three Ages of Man and Death
3654:Gather Ye Rosebuds While Ye May
2489:Düring, Werner-Joachim (1972).
2430:Bodley, Lorraine Byrne (2003).
2292:
2267:
2240:
2203:
2183:
2158:
2104:Schubert: The Music and the Man
2093:
1225:
2612:Gibbs, Christopher H. (1995).
1326:Twelve Songs by Franz Schubert
639:"Be calm, stay calm, my child;
464:He has the boy well in his arm
462:It is a father with his child.
311:Structure and musical analysis
1:
3470:Capuchin catacombs of palermo
2347:Liner notes to Pentatone 6394
2099:
1774:
1435:Grand Caprice for solo violin
371:
298:
242:have orchestrated the piece.
2464:Deutscher Taschenbuch Verlag
2372:Antokoletz, Elliott (2016).
2132:Van Dine, Kara Lynn (2010).
1712:Four Songs by Franz Schubert
1196:Wilhelmine Schröder-Devrient
395:
7:
3542:The Masque of the Red Death
3175:Nur wer die Sehnsucht kennt
2701:Schläbitz, Norbert (2011).
2659:(1st ed.). Cambridge.
1631:In 1846, during a visit to
1561:Chamber Orchestra of Europe
928:
810:Erlking has done me harm!"
10:
3851:
2707:Verlag Ferdinand Schöningh
2694:W. W. Norton & Company
2432:Schubert's Goethe Settings
2365:
1626:
847:
779:
726:
668:
610:
550:
489:
435:
411:in triplets and a falling
263:Johann Friedrich Reichardt
245:
196:Johann Wolfgang von Goethe
3747:
3598:
3568:Death and Transfiguration
3550:
3498:
3478:
3447:
3440:
3369:
3356:Personifications of death
3277:
3211:
3161:
3120:
3106:", D 957 No. 13
2908:
2869:
2586:Schubert und seine Lieder
2581:Fischer-Dieskau, Dietrich
2545:Fischer-Dieskau, Dietrich
2495:(in German). Regensburg:
2213:"Ernst, Heinrich Wilhelm"
2165:Williams, Adrian (1990).
2140:University of North Texas
1902:Machlis & Forney 2003
1754:Meiningen Court Orchestra
1546:
1522:
1502:
1497:
1492:
1412:
1396:
1391:
1386:
1303:
1287:
1282:
1277:
156:
141:
136:
119:
104:
88:
78:
67:
57:
41:
28:
23:
3343:Sic transit gloria mundi
3050:Auf dem Wasser zu singen
3002:"Wiegenlied", D 498
2705:(in German). Paderborn:
2100:Newbould, Brian (1999).
1734:
1673:
1605:Ernestine Schumann-Heink
1204:Dietrich Fischer-Dieskau
855:
787:
734:
676:
618:
558:
497:
443:
3815:Compositions in G minor
3575:Der Tod und das Mädchen
3412:Post-mortem photography
3111:Der Hirt auf dem Felsen
3091:"Ständchen", D 889
3036:Willkommen und Abschied
3008:Der Tod und das Mädchen
2900:"Ständchen", D 920
2820:by David Bennett Thomas
2731:Stein, Deborah (1989).
2555:dtv Verlagsgesellschaft
2344:Steiger, Franz (2014).
2251:Ernst, Heinrich Wilhelm
2247:Constantin von Wurzbach
2224:Oxford University Press
2210:Schwarz, Boris (2001).
1644:Gustave-Hippolyte Roger
1498:For voice and orchestra
1486:For voice and orchestra
1380:For solo violin (Ernst)
297:Schubert's manuscript,
3130:Schubert's song cycles
1727:
1698:: "Die junge Nonne", "
1668:
1579:
1537:Munich Radio Orchestra
1513:Stanislas de Barbeyrac
1480:
1447:
1431:Heinrich Wilhelm Ernst
1337:
1271:For solo piano (Liszt)
1240:Heinrich Wilhelm Ernst
1163:dominant seventh chord
923:
870:
842:
802:
774:
749:
721:
693:
663:
633:
605:
573:
545:
512:
484:
458:
430:
322:
304:
283:Theater am Kärntnertor
258:
228:Heinrich Wilhelm Ernst
145:7 March 1821
3318:Lamentation of Christ
2975:Hermann und Thusnelda
2926:Gretchen am Spinnrade
2703:Romantik in der Musik
2553:(in German). Kassel:
1762:Gretchen am Spinnrade
1725:
1700:Gretchen am Spinnrade
1667:
1578:
1479:
1336:
1192:through-composed song
922:
841:
773:
720:
662:
604:
544:
483:
429:
321:
296:
267:Carl Friedrich Zelter
253:
3835:Songs about children
3738:The Triumph of Death
3640:Death and the Maiden
3312:Death and the Maiden
3272:and mortality in art
2407:Arnold, Ben (2002).
2054:Fischer-Dieskau 1976
2042:Fischer-Dieskau 1976
1982:Fischer-Dieskau 1996
1955:Fischer-Dieskau 1976
1766:Gesänge des Harfners
1465:artificial harmonics
1230:"Erlkönig" has been
1178:Reception and legacy
3724:The Shadow of Death
3717:The Garden of Death
3661:La Calavera Catrina
3647:Death and the Miser
3135:Die schöne Müllerin
2454:Deutsch, Otto Erich
2409:The Liszt Companion
2329:, pp. 320–321.
1945:, pp. 230–231.
1688:Vienna Philharmonic
908:The resolution of C
289:Publication history
3537:Hamlet's soliloquy
3460:Catacombs of Paris
3285:All flesh is grass
3202:Wandrers Nachtlied
2989:Der König in Thule
2738:19th-Century Music
2619:19th-Century Music
2219:Grove Music Online
1728:
1684:Johann von Herbeck
1669:
1580:
1481:
1364:for the first time
1338:
924:
843:
775:
722:
664:
606:
546:
485:
431:
323:
305:
259:
3830:Songs about death
3825:Songs about kings
3792:
3791:
3788:
3787:
3675:Pyramid of Skulls
3608:Et in Arcadia ego
3236:
3235:
3064:Lachen und Weinen
2813:Harmonic analysis
2716:978-3-14-018072-6
2536:978-3-476-02380-3
2527:Schubert Handbuch
2422:978-0-313-09214-5
2233:978-1-56159-263-0
2142:. pp. 87–88.
2115:978-0-520-21957-1
1678:During his later
1598:
1570:
1569:
1517:Laurence Equilbey
1428:
1427:
1356:Vossische Zeitung
1342:A critic for the
1319:
1318:
1314:Valentina Lisitsa
1159:
1158:
884:
883:
816:
815:
763:
762:
709:
708:
647:
646:
587:
586:
526:
525:
472:
471:
338:
226:(solo piano) and
166:
165:
3842:
3526:Book of the Dead
3489:The Seventh Seal
3445:
3444:
3263:
3256:
3249:
3240:
3239:
3104:Der Doppelgänger
3071:Nacht und Träume
3057:Du bist die Ruh'
2864:
2863:
2848:
2841:
2834:
2825:
2824:
2814:
2803:: Scores at the
2793:: Scores at the
2783:: Scores at the
2770:
2720:
2697:
2692:(9th ed.).
2684:
2678:
2670:
2651:
2608:
2576:
2540:
2518:
2485:
2449:
2426:
2403:
2359:
2358:
2352:
2341:
2330:
2324:
2318:
2317:
2296:
2290:
2289:
2271:
2265:
2244:
2238:
2237:
2222:(8th ed.).
2215:
2207:
2201:
2200:
2191:Schumann, Robert
2187:
2181:
2180:
2162:
2156:
2150:
2144:
2143:
2129:
2120:
2119:
2107:
2097:
2091:
2090:
2088:
2086:
2079:Hyperion Records
2066:
2057:
2051:
2045:
2039:
2033:
2027:
2021:
2015:
2009:
2003:
1997:
1991:
1985:
1979:
1973:
1967:
1958:
1952:
1946:
1940:
1934:
1928:
1917:
1911:
1905:
1899:
1893:
1887:
1874:
1868:
1862:
1856:
1850:
1844:
1838:
1832:
1823:
1817:
1811:
1805:
1794:
1788:
1708:Der Doppelgänger
1706:", "Erlkönig", "
1600:
1599:
1577:
1557:Thomas Quasthoff
1551:
1550:
1527:
1526:
1507:
1506:
1490:
1489:
1452:violin technique
1442:
1417:
1416:
1401:
1400:
1384:
1383:
1344:Courrier de Lyon
1308:
1307:
1292:
1291:
1275:
1274:
1194:. However, when
1184:Joseph von Spaun
1123:
1122:
1088:
1087:
1020:
1019:
999:
998:
940:
939:
913:
912:
896:
895:
887:followed by the
852:
832:
824:
823:
784:
731:
673:
615:
594:
593:
555:
494:
440:
420:
419:
366:through-composed
343:Full performance
340:
339:
320:
303:
300:
278:Joseph von Spaun
200:of the same name
152:
150:
115:
113:
46:
21:
20:
3850:
3849:
3845:
3844:
3843:
3841:
3840:
3839:
3795:
3794:
3793:
3784:
3743:
3710:The Ambassadors
3594:
3546:
3494:
3474:
3436:
3365:
3273:
3267:
3237:
3232:
3231:
3207:
3157:
3116:
2904:
2865:
2859:
2858:
2852:
2812:
2781:Erlkönig, D.328
2777:
2730:
2727:
2725:Further reading
2717:
2672:
2671:
2667:
2597:
2565:
2537:
2507:
2474:
2446:
2423:
2413:Greenwood Press
2368:
2363:
2362:
2350:
2342:
2333:
2325:
2321:
2314:
2300:Barzun, Jacques
2297:
2293:
2286:
2272:
2268:
2245:
2241:
2234:
2208:
2204:
2188:
2184:
2177:
2163:
2159:
2151:
2147:
2130:
2123:
2116:
2098:
2094:
2084:
2082:
2070:Johnson, Graham
2067:
2060:
2052:
2048:
2040:
2036:
2030:Antokoletz 2016
2028:
2024:
2016:
2012:
2004:
2000:
1992:
1988:
1980:
1976:
1972:, pp. 231.
1968:
1961:
1953:
1949:
1941:
1937:
1929:
1920:
1912:
1908:
1900:
1896:
1888:
1877:
1871:Antokoletz 2016
1869:
1865:
1857:
1853:
1845:
1841:
1833:
1826:
1818:
1814:
1806:
1797:
1789:
1782:
1777:
1737:
1704:Lied der Mignon
1676:
1629:
1622:
1621:
1613:
1611:
1610:
1609:
1608:
1601:
1594:
1591:
1585:
1581:
1575:
1555:, performed by
1548:
1531:, performed by
1524:
1511:, performed by
1504:
1488:
1438:
1437:on "Erlkönig" (
1421:, performed by
1414:
1405:, performed by
1398:
1392:For solo violin
1382:
1371:Robert Schumann
1352:Ludwig Rellstab
1312:, performed by
1305:
1298:Daniil Trifonov
1296:, performed by
1289:
1273:
1228:
1180:
1124:major → D minor
1120:
1119:
1085:
1084:
1017:
1016:
1003:Father and Son
996:
995:
967:(Introduction)
931:
910:
909:
893:
892:
880:
877:
875:
873:
867:
864:
862:
860:
858:
850:
826:
821:
820:
812:
809:
807:
805:
799:
796:
794:
792:
790:
782:
759:
756:
754:
752:
746:
743:
741:
739:
737:
729:
705:
702:
700:
698:
696:
690:
687:
685:
683:
681:
679:
671:
643:
640:
638:
636:
630:
627:
625:
623:
621:
613:
591:
590:
583:
580:
578:
576:
570:
567:
565:
563:
561:
553:
522:
519:
517:
515:
509:
506:
504:
502:
500:
492:
468:
465:
463:
461:
455:
452:
450:
448:
446:
438:
417:
416:
398:
374:
358:
357:
349:
347:
346:
345:
344:
341:
334:
331:
324:
318:
313:
301:
291:
248:
230:(solo violin);
148:
146:
132:
111:
109:
53:
17:
12:
11:
5:
3848:
3838:
3837:
3832:
3827:
3822:
3817:
3812:
3807:
3790:
3789:
3786:
3785:
3783:
3782:
3775:
3768:
3761:
3753:
3751:
3745:
3744:
3742:
3741:
3734:
3727:
3720:
3713:
3706:
3699:
3692:
3685:
3678:
3671:
3664:
3657:
3650:
3643:
3636:
3633:Death and Life
3629:
3626:Death and Fire
3622:
3621:
3620:
3615:
3604:
3602:
3596:
3595:
3593:
3592:
3585:
3578:
3571:
3564:
3556:
3554:
3548:
3547:
3545:
3544:
3539:
3534:
3529:
3522:
3517:
3510:
3502:
3500:
3496:
3495:
3493:
3492:
3484:
3482:
3476:
3475:
3473:
3472:
3467:
3465:Sedlec Ossuary
3462:
3457:
3455:Capuchin Crypt
3451:
3449:
3442:
3438:
3437:
3435:
3434:
3429:
3424:
3419:
3414:
3409:
3404:
3399:
3394:
3389:
3384:
3379:
3373:
3371:
3367:
3366:
3364:
3363:
3358:
3353:
3346:
3339:
3332:
3325:
3320:
3315:
3308:
3301:
3294:
3287:
3281:
3279:
3275:
3274:
3266:
3265:
3258:
3251:
3243:
3234:
3233:
3230:
3229:
3224:
3219:
3213:
3212:
3209:
3208:
3206:
3205:
3198:
3193:
3188:
3183:
3178:
3171:
3165:
3163:
3159:
3158:
3156:
3155:
3151:Schwanengesang
3147:
3139:
3126:
3124:
3118:
3117:
3115:
3114:
3107:
3100:
3093:
3088:
3081:
3074:
3067:
3060:
3053:
3046:
3039:
3032:
3025:
3018:
3011:
3004:
2999:
2992:
2985:
2978:
2971:
2968:Vaterlandslied
2964:
2957:
2954:Die Bürgschaft
2950:
2943:
2936:
2933:Rastlose Liebe
2929:
2922:
2914:
2912:
2906:
2905:
2903:
2902:
2897:
2890:
2883:
2875:
2873:
2867:
2866:
2861:Franz Schubert
2851:
2850:
2843:
2836:
2828:
2822:
2821:
2809:
2808:
2807:
2797:
2776:
2775:External links
2773:
2772:
2771:
2751:10.2307/746652
2745:(2): 145–158.
2726:
2723:
2722:
2721:
2715:
2698:
2685:
2665:
2652:
2632:10.2307/746658
2626:(2): 115–135.
2609:
2595:
2577:
2563:
2541:
2535:
2519:
2505:
2486:
2472:
2450:
2444:
2427:
2421:
2404:
2367:
2364:
2361:
2360:
2331:
2319:
2312:
2291:
2284:
2266:
2239:
2232:
2202:
2182:
2175:
2157:
2155:, p. 133.
2145:
2121:
2114:
2092:
2058:
2046:
2044:, p. 168.
2034:
2032:, p. 147.
2022:
2020:, p. 109.
2010:
1998:
1996:, p. 117.
1986:
1974:
1959:
1947:
1935:
1933:, p. 230.
1918:
1914:Schläbitz 2011
1906:
1894:
1892:, p. 229.
1875:
1873:, p. 140.
1863:
1861:, p. 150.
1851:
1839:
1837:, p. 115.
1824:
1812:
1810:, p. 228.
1795:
1779:
1778:
1776:
1773:
1736:
1733:
1730:
1729:
1675:
1672:
1671:
1670:
1653:Jacques Barzun
1637:Václav Tomášek
1628:
1625:
1612:
1602:
1592:
1587:
1586:
1583:
1582:
1573:
1572:
1571:
1568:
1567:
1565:Claudio Abbado
1544:
1543:
1520:
1519:
1500:
1499:
1495:
1494:
1493:External audio
1487:
1484:
1483:
1482:
1467:and left-hand
1426:
1425:
1410:
1409:
1394:
1393:
1389:
1388:
1387:External audio
1381:
1378:
1340:
1339:
1317:
1316:
1301:
1300:
1285:
1284:
1283:For solo piano
1280:
1279:
1278:External audio
1272:
1269:
1262:Brian Newbould
1252:Hector Berlioz
1227:
1224:
1215:Fifth Symphony
1211:Graham Johnson
1179:
1176:
1157:
1156:
1153:
1148:
1145:
1141:
1140:
1137:
1134:
1132:
1129:
1128:
1125:
1116:
1113:
1109:
1108:
1105:
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882:
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868:
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814:
813:
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781:
778:
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747:
728:
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724:
723:
707:
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691:
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631:
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571:
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510:
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397:
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232:Hector Berlioz
188:Franz Schubert
164:
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139:
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134:
133:
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90:
86:
85:
82:
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59:
55:
54:
47:
39:
38:
36:Franz Schubert
26:
25:
15:
9:
6:
4:
3:
2:
3847:
3836:
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3828:
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3808:
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3586:
3584:
3583:
3579:
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3565:
3563:
3562:
3561:Danse macabre
3558:
3557:
3555:
3553:
3549:
3543:
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3528:
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3420:
3418:
3415:
3413:
3410:
3408:
3405:
3403:
3400:
3398:
3395:
3393:
3392:Funerary text
3390:
3388:
3385:
3383:
3380:
3378:
3375:
3374:
3372:
3368:
3362:
3359:
3357:
3354:
3352:
3351:
3347:
3345:
3344:
3340:
3338:
3337:
3336:Mono no aware
3333:
3331:
3330:
3326:
3324:
3321:
3319:
3316:
3314:
3313:
3309:
3307:
3306:
3305:Danse Macabre
3302:
3300:
3299:
3295:
3293:
3292:
3288:
3286:
3283:
3282:
3280:
3276:
3271:
3264:
3259:
3257:
3252:
3250:
3245:
3244:
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3199:
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3176:
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3153:
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3148:
3145:
3144:
3140:
3137:
3136:
3132:, including:
3131:
3128:
3127:
3125:
3123:
3119:
3113:", D 965
3112:
3108:
3105:
3101:
3099:", D 891
3098:
3094:
3092:
3089:
3087:", D 882
3086:
3082:
3080:", D 839
3079:
3075:
3073:", D 827
3072:
3068:
3066:", D 777
3065:
3061:
3058:
3054:
3052:", D 774
3051:
3047:
3045:", D 771
3044:
3040:
3038:", D 767
3037:
3033:
3031:", D 674
3030:
3026:
3024:", D 550
3023:
3019:
3017:", D 547
3016:
3012:
3010:", D 531
3009:
3005:
3003:
3000:
2998:", D 489
2997:
2993:
2991:", D 367
2990:
2986:
2984:", D 328
2983:
2979:
2977:", D 322
2976:
2972:
2970:", D 287
2969:
2965:
2963:", D 257
2962:
2961:Heidenröslein
2958:
2956:", D 246
2955:
2951:
2949:", D 166
2948:
2944:
2942:", D 141
2941:
2940:Der Mondabend
2937:
2935:", D 130
2934:
2930:
2928:", D 118
2927:
2923:
2920:
2916:
2915:
2913:
2911:
2907:
2901:
2898:
2896:", D 714
2895:
2891:
2889:", D 189
2888:
2887:An die Freude
2884:
2882:", D 170
2881:
2877:
2876:
2874:
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2868:
2862:
2856:
2849:
2844:
2842:
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2835:
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2708:
2704:
2699:
2695:
2691:
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2682:
2676:
2668:
2666:0-521-48229-1
2662:
2658:
2653:
2649:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2620:
2615:
2610:
2606:
2602:
2598:
2596:3-421-05051-1
2592:
2588:
2587:
2582:
2578:
2574:
2570:
2566:
2564:3-7618-0550-0
2560:
2556:
2552:
2551:
2546:
2542:
2538:
2532:
2528:
2524:
2523:Dürr, Walther
2520:
2516:
2512:
2508:
2506:3-7649-2082-3
2502:
2498:
2494:
2493:
2487:
2483:
2479:
2475:
2473:3-423-03261-8
2469:
2465:
2461:
2460:
2455:
2451:
2447:
2445:0-7546-0695-3
2441:
2437:
2433:
2428:
2424:
2418:
2414:
2410:
2405:
2401:
2397:
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2389:
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2380:
2375:
2370:
2369:
2356:
2349:
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2338:
2336:
2328:
2323:
2315:
2313:0-226-03861-0
2309:
2305:
2301:
2295:
2287:
2285:0-486-21563-6
2281:
2277:
2270:
2263:
2259:
2257:
2252:
2248:
2243:
2235:
2229:
2225:
2221:
2220:
2214:
2206:
2198:
2197:
2192:
2186:
2178:
2176:0-19-816150-6
2172:
2168:
2161:
2154:
2149:
2141:
2137:
2136:
2128:
2126:
2117:
2111:
2106:
2105:
2096:
2081:
2080:
2075:
2071:
2065:
2063:
2056:, p. 68.
2055:
2050:
2043:
2038:
2031:
2026:
2019:
2014:
2008:, p. 67.
2007:
2002:
1995:
1990:
1984:, p. 79.
1983:
1978:
1971:
1966:
1964:
1956:
1951:
1944:
1939:
1932:
1927:
1925:
1923:
1916:, p. 50.
1915:
1910:
1903:
1898:
1891:
1886:
1884:
1882:
1880:
1872:
1867:
1860:
1855:
1849:, p. 38.
1848:
1843:
1836:
1831:
1829:
1821:
1816:
1809:
1804:
1802:
1800:
1792:
1787:
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1772:
1769:
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1763:
1758:
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1741:
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1718:
1715:
1713:
1709:
1705:
1701:
1697:
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1681:
1666:
1662:
1661:
1660:
1657:
1654:
1649:
1645:
1640:
1638:
1634:
1624:
1620:
1618:
1606:
1603:Performed by
1590:
1566:
1562:
1558:
1554:
1545:
1542:
1538:
1534:
1533:Michael Volle
1530:
1521:
1518:
1514:
1510:
1501:
1496:
1491:
1478:
1474:
1473:
1472:
1470:
1466:
1462:
1457:
1453:
1449:
1445:
1441:
1436:
1433:composed his
1432:
1424:
1420:
1411:
1408:
1404:
1395:
1390:
1385:
1377:
1375:
1372:
1367:
1365:
1361:
1357:
1353:
1348:
1345:
1335:
1331:
1330:
1329:
1327:
1323:
1315:
1311:
1302:
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1257:
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1249:
1245:
1241:
1237:
1233:
1223:
1219:
1216:
1212:
1208:
1205:
1200:
1197:
1193:
1188:
1185:
1175:
1173:
1169:
1164:
1154:
1152:
1149:
1146:
1143:
1142:
1138:
1136:(F) → G minor
1135:
1133:
1131:
1130:
1126:
1117:
1114:
1111:
1110:
1106:
1104:
1101:
1099:
1097:
1096:
1092:
1090:
1080:
1077:
1074:
1073:
1069:
1067:
1064:
1061:
1058:
1057:
1053:
1050:
1048:
1046:
1045:
1041:
1039:
1035:
1032:
1029:
1028:
1024:
1022:
1013:
1010:
1007:
1006:
1002:
993:
990:
987:
986:
982:
980:
977:
974:
971:
970:
966:
964:
961:
958:
956:
955:
951:
948:
945:
942:
941:
938:
936:
921:
917:
916:
915:
906:
904:
899:
890:
879:
869:
866:
854:
853:
840:
836:
835:
834:
831:
830:
811:
801:
798:
786:
785:
772:
768:
767:
766:
758:
748:
745:
733:
732:
719:
715:
714:
713:
704:
692:
689:
675:
674:
661:
657:
656:
655:
652:
642:
632:
629:
617:
616:
603:
599:
598:
597:
582:
572:
569:
557:
556:
543:
539:
538:
537:
535:
531:
521:
511:
508:
496:
495:
482:
478:
477:
476:
467:
457:
454:
442:
441:
428:
424:
423:
422:
414:
410:
405:
403:
402:moto perpetuo
393:
390:
388:
384:
380:
369:
367:
363:
356:
354:
330:
308:
295:
286:
284:
279:
274:
272:
268:
264:
257:
252:
243:
241:
237:
233:
229:
225:
220:
217:
213:
209:
205:
201:
197:
194:, which sets
193:
189:
185:
184:
179:
175:
171:
162:
159:
155:
144:
140:
135:
128:
125:
124:
122:
118:
107:
103:
99:
95:
91:
87:
83:
81:
77:
73:
70:
66:
63:
60:
56:
51:
45:
40:
37:
33:
32:
27:
22:
19:
3736:
3729:
3722:
3715:
3708:
3701:
3694:
3687:
3680:
3673:
3666:
3659:
3652:
3645:
3638:
3631:
3624:
3607:
3587:
3581:
3580:
3573:
3566:
3559:
3524:
3514:Bardo Thodol
3512:
3507:Ars moriendi
3505:
3487:
3448:Architecture
3387:Funerary art
3348:
3341:
3334:
3329:Memento mori
3327:
3310:
3303:
3296:
3289:
3154:, D 957
3149:
3146:, D 911
3141:
3138:, D 795
3133:
3059:, D 776
3015:An die Musik
2996:Der Wanderer
2981:
2921:", D 77
2742:
2736:
2702:
2689:
2656:
2623:
2617:
2585:
2549:
2526:
2497:Gustav Bosse
2491:
2458:
2431:
2411:. Westport:
2408:
2383:
2377:
2346:
2322:
2303:
2294:
2275:
2269:
2254:
2242:
2217:
2205:
2195:
2185:
2166:
2160:
2148:
2134:
2103:
2095:
2083:. Retrieved
2077:
2049:
2037:
2025:
2013:
2001:
1989:
1977:
1950:
1938:
1909:
1897:
1866:
1854:
1842:
1822:, p. 8.
1815:
1791:Deutsch 1983
1770:
1759:
1751:
1745:
1738:
1731:
1716:
1711:
1695:
1692:Reitermarsch
1691:
1677:
1658:
1641:
1630:
1623:
1614:
1541:Ralf Weikert
1434:
1429:
1407:Gidon Kremer
1376:
1368:
1363:
1359:
1349:
1343:
1341:
1325:
1320:
1267:
1260:
1243:
1229:
1226:Arrangements
1220:
1209:
1201:
1189:
1181:
1160:
1150:
1102:
1082:
1065:
1037:
1014:
978:
962:
932:
907:
900:
885:
871:
856:
828:
827:
817:
803:
788:
764:
750:
735:
710:
694:
677:
651:chromaticism
648:
634:
619:
588:
574:
559:
527:
513:
498:
473:
459:
444:
406:
399:
391:
375:
359:
350:
306:
275:
260:
221:
186:composed by
181:
169:
167:
29:
18:
3682:Roman Widow
3520:Book of Job
3143:Winterreise
3085:Im Frühling
3022:Die Forelle
2919:Der Taucher
2880:Schwertlied
2386:: 139–147.
2327:Arnold 2002
2262:digitalised
2153:Arnold 2002
2018:Düring 1972
1970:Bodley 2003
1943:Bodley 2003
1931:Bodley 2003
1890:Bodley 2003
1808:Bodley 2003
1744:orchestral
1648:Baden-Baden
1423:Vilde Frang
1322:Franz Liszt
1236:Franz Liszt
994:G minor → B
534:subdominant
302: 1815
236:Franz Liszt
224:Franz Liszt
3810:1815 songs
3799:Categories
3532:Left Ginza
3499:Literature
3377:Death mask
3298:Consolatio
3291:Carpe diem
3029:Prometheus
2947:Amphiaraos
2871:Part songs
2434:. London:
2353:. Berlin:
2085:6 February
1994:Gibbs 1995
1859:Gibbs 1997
1847:Gibbs 1997
1835:Gibbs 1995
1820:Gibbs 1997
1775:References
1617:media help
1589:"Erlkönig"
1509:by Berlioz
1456:polyphonic
1172:submediant
952:Character
903:recitative
891:chord of A
889:Neapolitan
372:Characters
353:media help
329:"Erlkönig"
271:Carl Loewe
256:Josef Abel
180:328, is a
149:1821-03-07
3589:Totentanz
3196:Trinklied
3191:Ständchen
3186:Sehnsucht
3097:An Sylvia
3078:Ave Maria
3043:Der Zwerg
2759:0148-2076
2675:cite book
2640:0148-2076
2392:0941-9535
2355:Pentatone
2006:Dürr 2010
1559:with the
1535:with the
1469:pizzicato
1440:‹See Tfd›
1256:Max Reger
1248:orchestra
1155:Narrator
1051:→ G major
983:Narrator
935:semitones
396:Structure
387:tessitura
240:Max Reger
208:tessitura
68:Catalogue
3772:Erlkönig
3613:Guercino
3600:Painting
3582:Erlkönig
3402:Memorial
3350:Ubi sunt
3162:Multiple
2982:Erlkönig
2605:36534033
2583:(1996).
2547:(1976).
2525:(2010).
2482:11155442
2456:(1983).
2400:43858436
2302:(1982).
2072:(1990).
1553:by Reger
1529:by Liszt
1419:by Ernst
1403:by Ernst
1360:sensual
1310:by Liszt
1294:by Liszt
1258:(1914).
1232:arranged
1127:Erlking
1121:♭
1086:♯
1070:Erlking
1025:Erlking
1018:♭
997:♭
949:Tonality
946:Measures
929:Tonality
911:♯
894:♭
822:♭
592:♭
418:♯
413:arpeggio
383:triplets
379:ostinato
362:romantic
216:rhythmic
212:harmonic
198:'s poem
170:Erlkönig
157:Location
137:Premiere
105:Composed
94:Erlkönig
50:Diabelli
24:Erlkönig
3618:Poussin
3441:Artwork
3427:Tragedy
3417:Requiem
3361:Vanitas
3323:Macabre
3181:Romanze
2818:YouTube
2573:3317362
2515:1026995
2436:Ashgate
2366:Sources
2253:." In:
1627:Berlioz
1242:(1854;
1168:stretto
1151:G minor
1147:132–147
1115:117–131
1107:Father
1103:D minor
1066:C major
1054:Father
1038:B minor
979:G minor
963:G minor
865:
848:Verse 8
797:
780:Verse 7
744:
727:Verse 6
688:
669:Verse 5
628:
611:Verse 4
568:
551:Verse 3
532:to the
507:
490:Verse 2
453:
436:Verse 1
246:History
204:Erlking
147: (
120:Scoring
110: (
62:G minor
52:in 1821
3749:Poetry
3668:Plague
3432:Wreath
3397:Lament
3278:Themes
3169:Mignon
3122:Cycles
2910:Lieder
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1696:Lieder
1680:Weimar
1633:Prague
1563:under
1539:under
1444:German
1081:(E) →
1078:97–116
1036:(D) →
943:Verse
238:, and
161:Vienna
98:Goethe
3552:Music
3407:Mummy
3382:Elegy
3370:Forms
3270:Death
2855:Songs
2763:JSTOR
2644:JSTOR
2396:JSTOR
2351:(PDF)
1740:Reger
1735:Reger
1674:Liszt
1642:When
1461:stops
1089:minor
1062:86–96
1033:72–85
1021:major
1011:58–72
1000:major
991:37–57
975:16–36
959:1–15
530:tonic
409:scale
381:bass
129:piano
126:voice
3480:Film
3422:Tomb
2755:ISSN
2711:ISBN
2681:link
2661:ISBN
2636:ISSN
2601:OCLC
2591:ISBN
2569:OCLC
2559:ISBN
2531:ISBN
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2478:OCLC
2468:ISBN
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2388:ISSN
2308:ISBN
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2228:ISBN
2171:ISBN
2110:ISBN
2087:2021
1746:Lied
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1139:Son
1093:Son
1042:Son
901:The
269:and
214:and
192:1815
183:Lied
142:Date
112:1815
108:1815
89:Text
80:Opus
31:Lied
2857:by
2816:on
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72:D
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