Synopsis

This song originally written by the famous German poet, novelist and dramatist Johann Wolfgang von Goethe, who is considered the founder of modern German Literature, was set to music by a number of composers including: - Schubert 1815, Loewe 1818, J.F. Reichardt and Corona Schöter 1782 (Apparently the earliest setting of all). This version was translated into English by the German contralto vocalist Natalie Macfarren (1828 - 1916).

Although the version you will hear has been re-arranged, I will refer to the way Schubert originally wrote the music throughout the synopsis. The music starts with octaves being played in triplets, setting the scene immediately establishing a variety of fundamental issues including: - Panic, Speed and the symbolism of the rhythm being the method of transport (a horse galloping). It then introduces a sinister element by establishing the use of a somewhat chromatic accompaniment pattern in the bass. This varies slightly until the vocals start in the form of a narrator who describes the scene before us. Establishing that it is night, and that a Father is galloping through the wild forest holding his Son firmly in his arms.

The Father speaks to his Son asking him why he hides his face in fear. The Son replies that he sees the Erl-king and describes his appearance. The Father clearly not seeing as the Son does, and trying to comfort or reassure the boy, responds by trying to explain the vision as a natural event discarding it as merely “a passing cloud”.
It is not clear as to whether the Father is in denial and being strong for the Son, or if when the Son sees these things he is actually drifting into a state of sub-consciousness, and therefore this maybe a metaphor for the Father fighting for the Son's life by trying to keep him awake.

Then there is a change of mood whilst the Erl-king sings melodiously trying to lure the boy to come with him by tempting him with a garment of gold and other nice things. At this point I feel it is important to mention that “The Erl-king” is best recognised as some sort of “Angel of Death/Grim Reaper”.

Next we return to the fearful Son telling his Father of the Erl-king whispering in his ear (enticing him). Again the Father attempts to calm him by passing it off as merely the leaves rustling around them. Again the Erl-king returns trying to tempt the boy with frivolity and the comfort of his “pretty daughters”? Using calming arpeggio accompaniment.

The Son now quite afraid, musically reinforced/symbolised by taking the accompaniment pattern to a higher pitch the E's an octave apart, informs his Father of the daughters hiding in the shadows or “dark shade”. Once again the Father comforts the boy this time passing it off as “The grey knotted willows” bending in the wind.
The Erl-king returns one final time initially confessing his love for the boy, but, as he sings, starts to take a more sinister tone telling the boy if he is not willing to come with him by his own free will then he will take him by force.

The Son now at a height of panic, musically reinforced by raising the pitch another semi-tone to F's an octave apart, tells his Father of the steely cold handed grasp of the Erl-king hurting him. At this point the Father does not respond, but we switch back to the narrative. I feel this reinforces the seriousness of the situation and leads the listener to identify with the true essence of the story and that the Father is in fact concerned by the events foretold by the Son during their journey.

The Narrator takes us through the final stages of the journey explaining the urgency of the Father, his fears being realised, and finally the arrival at his destination (home) only to find out he is too late.