The project's ultimate goal is to explore multiple ways to make classical music and in my case viola and chamber music repertoire emotionally more accessible to both the listener and performer. I intend to achieve this goal through storytelling with the aid of different art forms such as poetry, photography, videography, or painting, previously developed by the performer in collaboration with different artists and then presented within the performance of selected pieces.
During my master project journey I also experimented my other art forms such as photography, videography, or painting, but while doing so the options and collaborative freedom felt endless and frankly a little overwhelming. Therefore, I scaled back and came back again to my first initial thought of combining music and poetry. So far in life, I had mostly written poetry in German and since I was doing my studies in English, I thought it would be a good challenge to also write some of my poetry in English and not only translate from German to English. You can see that in my first year of studies where I had not decided yet, which repertoire I wanted to play in my final exam concert, I only wrote in English. But later in my second year, for pieces by composers from the Romantic era it felt more natural to use German and be inspired by the traditional Romantic lyricism.
As an exercise of language and expression, during the time of my master project, I also wrote poems without any association with a particular musical work, a collection of which you can find below:
My master project “Viola poems” explores a fascinating intersection between classical music and poetry, with the goal of making viola and chamber music repertoire more emotionally accessible to both performers and listeners, enriching the musical experience through interdisciplinary storytelling. At the core of my project is the recognition that music and poetry share deep-rooted connections—both art forms express emotions, tell stories, and create imagery through their respective languages. It is important to me that
What makes my project particularly valuable is its focus on accessibility and emotional connection. By providing poetic frameworks for instrumental music, I offer entry points for listeners who might otherwise find classical music abstract or challenging at times but I also don’t want to limit the listeners experience by sharing my own pictures and stories. It is merely a starting point to develop independent ideas and colors. Simultaneously, my personal engagement with poetry as a performer demonstrates how musicians themselves can deepen their interpretive understanding through interdisciplinary reflection.
My project documentation reveals a rich creative process and as I have previously said, the poems I have written show a sensitivity to the musical character of each piece. For example, my poems for Schubert's Arpeggione Sonata or Shastakovich’s Gadfly Suite capture the work's folk-like qualities and emotional contrasts, while my poem for Brahms' Sonata evokes profound melancholy. For Schumann's Adagio and Allegro my poem dramatically portrays contrasting emotional states that mirror the music's own shifting character. But the poems not only reproduce my emotions and pictures but some of them are also a rough depiction of the same form as the piece (e.g. Adagio and Allegro by Schumann).
Overall, I can say it was a very creatively rewarding process and I am very excited now to share the final product with everyone in my Master Recital.
The repertoire I worked on in my master project can be sorted into two main categories: works with pre-existing connections to poetry and works that inspired me to express my thoughts and feelings in poetry
Toru Takemitsu A Bird came down the Walk (1994) (7 min)
Toru Takemitsu's composition "A Bird came down the Walk" is directly based on Emily Dickinson's poem of the same name. The music follows the poem's narrative, with Takemitsu using sound to represent the bird's movements—from walking and eating a worm to its cautious observation and eventual flight. The composer captures both the bird's earthbound moments and its graceful departure through changing melodies and dynamics that reflect Dickinson's careful observations and vivid imagery. The poem that inspired this musical work reads:
A Bird came down the Walk—
He did not know I saw—
He bit an Angleworm in halves
And ate the fellow, raw,
And then he drank a Dew
From a convenient Grass—
And then hopped sidewise to the Wall
To let a Beetle pass—
He glanced with rapid eyes
That hurried all around—
They looked like frightened Beads, I thought—
He stirred his Velvet Head
Like one in danger, Cautious,
I offered him a Crumb
And he unrolled his feathers
And rowed him softer home—
Than Oars divide the Ocean,
Too silver for a seam—
Or Butterflies, off Banks of Noon
Leap, plashless as they swim.
R. Schumann Dichterliebe for Voice and Piano (arr. for Viola and Piano by Martin Stegner and Tomoko Takahashi) (25 min)
When arranged for viola and piano, Schumann's "Dichterliebe" (Poet's Love) brings the music's connection to poetry into a new light. Originally written for voice and piano using Heinrich Heine's poems, this adaptation lets the viola take over the singing role. The cycle's sixteen miniature movements mirror the poetic structure of Heine's work - each a complete thought, yet part of a larger emotional journey. The Viola's warm tone works wonderfully to express the mix of love and heartbreak in Heine's poetry. Without actual words, the viola must convey the emotional journey through its sound alone, while the piano provides the harmonic foundation. This instrumental version highlights how Schumann's music already captures the essence of poetry - its rhythms, emotional shifts, and narrative flow - even when the words themselves are absent.
In my final artistic presentation, I will showcase three different approaches with the two materials: music and poetry. Twice, with Schumann’s Dichterliebe and Schubert’s Erlkönig I will play a transcription of a composition originally for voice and piano where the composers got inspired to set music to the existing poem, depicting it word for word. Once, in Toru Takemitsu’s A Bird came down the Walk, the composer also based his work on an already existing poem but it is up to the interpreter which elements of the poem you find where in the music. Again twice, with the first movement of Schuberts Arpeggione Sonata and Schumann’s Adagio and Allegro I wrote my own poem to each of the pieces or movements, inspired by what I felt and which pictures came to mind while practicing or performing those pieces.
J. Joachim Hebrew Melodies op. 9 (1855) (15 min)
Joseph Joachim's Hebrew Melodies were inspired by Lord Byron's poetry collection of the same name. Although Joachim never specified which poems he used for his three short pieces for viola and piano, the influence of Byron's poetry is clearly evident. The pieces were published in the same year that Joachim converted from Judaism to Christianity. Byron's poems were very popular among composers at that time and were also set to music by other composers like Schumann and Mendelssohn.
F. Schubert Erlkönig
(arr. for 8 violas by Max Baillie) (5 min)
In Max Baillie's innovative arrangement of Schubert's "Erlkönig" for eight violas, Goethe's haunting poem finds new dramatic expression. The original ballad, depicting a father racing through the night with his son who is being stalked by the supernatural Erlking, translates brilliantly to this unusual instrumental format. Each viola takes on distinct narrative voices from the poem: some instruments carry the galloping triplet rhythm representing the desperate horseback ride, while others embody the four characters: narrator, father, son, and the sinister Erlking. The rich middle register of the viola proves particularly effective at conveying both the child's terror and the Erlking's seductive whispers. Without words, Baillie's arrangement relies on the violas' capacity for both aggression and tenderness to communicate the poem's mounting dread and tragic conclusion, demonstrating how Schubert's musical storytelling can powerfully convey poetic narrative even when reimagined for an ensemble of like instruments.
May 20, 2025 18:00 Levinsalen NMH
Repertoire:
F. Schubert Arpeggione Sonata D821
I. Allegro moderato
R. Schumann Dichterliebe op. 48 (arr. for Viola and Piano by Martin Stegner and Tomoko Takahashi)
I. Im wunderschönen Monat Mai
V. Ich will meine Seele tauchen
VII. Ich grolle nicht
T. Takemitsu A Bird Came down the Walk
R. Schumann Adagio & Allegro op. 70 (arr. for Viola and Piano)
F. Schubert Erlkönig D328 (arr. for 8 violas)
J. Brahms Sonata op. 78 for Violin (arr. for Viola) and Piano (25 min)
Brahms's "Regenlied Sonate" derives its name from his reuse of his art song "Regenlied" ("Rain Song") as the foundation for the third movement finale. The Allegro moderato opens with the exact melody and accompaniment of the lied, where rainfall patterns accompany wistful nostalgia. Klaus Groth's text expresses longing for childhood simplicity:
"Pour, rain, pour down,
Awaken again in me those dreams
That I dreamt in childhood,
When the wetness foamed in the sand!"
and
"When the dull summer sultriness
Struggled casually against the fresh coolness,
And the pale leaves dripped with dew,
And the crops were dyed a deeper blue."
The second movement, Adagio, presents a tender, hymn-like song with noble piano chords in simple cadences, creating characteristic Brahmsian grandeur through smooth thirds and sixths. This movement also draws inspiration from "Regenlied," specifically the section where:
"Like the flowers' chalices, which trickle there,
The soul breathes openly,
Like the flowers, drunk with fragrance,
Drowning in the dew of the Heavens."
And continues
"Every trembling drop cooled
Deep down to the heart's very beating,
And creation's holy web
Pierced into my hidden life."
The first movement, the sonata's longest, offers lyrical themes amid stormy development, with violin 8or in my case, viola) and piano exchanging roles in a gracious partnership. This opening movement embodies the nostalgia referenced in the Regenlied text:
"Pour, rain, pour down,
Awaken the old songs,
That we used to sing in the doorway
When the raindrops pattered outside!"
and
"I would like to listen to it again,
That sweet, moist rushing,
My soul gently bedewed
With holy, childlike awe."
The composition's circular structure masterfully recalls earlier movements in the finale, creating a work that, like nostalgia itself, only reveals its whole meaning when complete.
Every old September day
mouthing a lone silent piece.
Going to sleep hoping to
see you again in my dreams.
Every new September day
humming a sweet melody,
feeling you right next to me
hopefully seasons to come.
I. Maestoso - Allegro
(Heimkehr)
In sanften Schatten, heimlich, sacht,
Ein Ort, der Wärme, Trost entfacht.
Die Türen öffnen, Erinnerungen blüh’n,
Ein Hauch von Melancholie, seht leis dahinzieh’n.
Die Wände flüstern von längst vergang’ner Zeit,
Ein Gefühl von Geborgenheit, verstummter Heiterkeit,
Doch in der Stille schwingt ein leiser Schmerz,
Ein Echo der Sehnsucht, tief im Herzen verwehrt.
Doch dann, ein Lichtstrahl bricht herein,
Die Welt erblüht, die Farben so rein.
Ein Lachen, das die Schatten vertreibt,
Lebensfreude, die in jedem Herzen bleibt.
Die Freude leuchtet, warm und hell,
Durchströmt das Leben, klar und schnell.
Ein Rausch von Farben, ein süßer Klang,
Der Seele Freiheit, ein ewiger Sang.
Die Zeit verweilt in zarten Augenblicken,
Ein Flüstern in Stille, das sanft uns beglücken.
Die Melodie des Lebens, so süß und klar,
Sie trägt uns fort, wie ein leiser Wind, so wahr.
In sanften Schatten, heimlich, sacht,
Ein Ort, der Wärme, Trost entfacht.
Die Erinnerungen blühen, die Zeit verweht,
Ein Gefühl von Geborgenheit, das nie vergeht.
So kehren wir heim, mit einem Lächeln im Blick,
In der Leidenschaft finden wir unser Glück.
I. Allegro moderato
In a world that's simple, yet complex,
Where joy and sorrow blend perplex,
A folksong hums in evening air,
Gentle woven, a tender pair.
Joyful melancholic pain, it sings,
Of fleeting moments, and broken wings,
The beauty in the struggle, the pull of the past,
A dance with time, that moves too fast.
Back to basics, away from the noise,
No obedience to the world's old voice.
We breathe in he tension, exhale release,
In the space between, we find our peace.
So we sing, with joy and pain entwined,
A simple song, yet so refined -
A song of longing, a song of grace,
A song of finding our own true place.
I. Scene
(the gadfly)
On sun-warmed cow back I hover,
A speck of idleness in shimmering light.
The world blurs in swaying waves,
While grass blades whisper and time passes.
Yet beneath my translucent wings
An electric pulse twitches, ready.
My stillness is but a painted facade-
A purpose masked in moments of rest.
I. Allegro amabile
In tiefer Melancholie treibe ich dahin,
Klagend sucht mein Herz nach fernem Licht.
Die Reibung zwischen Traum und Wirklichkeit
Schleift meine Hoffnung dünn wie Morgennebel.
Auf dunklen Wassern segeln meine Gedanken,
Frankenstein nur ein flüchtiger Schatten am Horizont.
Was bleibt ist diese schwere, ziehende Tiefe,
Die mich hinabzieht in ihre samtene Umarmung.
Klagend wie Möwen über verlassenen Buchten,
Verhallt mein Ruf in der Weite der Zeit.
Die Reibung der Wellen gegen das Boot
Singt das Lied meiner stillen Verzweiflung.
In der Tiefe meiner Seele wohnt die Wahrheit:
Wir segeln allein, selbst wenn wir gemeinsam sind,
Getragen von der klagenden Melodie des Windes,
Der die Geheimnisse aller gebrochenen Herzen kennt.
You held me hostage behind closed bars,
Feasting well off my bloody scars.
Invited sick demons into the house,
Leaving me hanging, inside out.
Tricky crows picking out teary eyes,
Long lost sight, too blind to realize.
You only offered me soaked tissues,
Failing to wipe away my trust issues.
Raising my voice easily feels bold,
But don’t want this story to be untold.
Metal chains bursting by my rage,
Finally set myself free of your cage.
No more making a fist under the table,
Slowly striving for more mentally stable.
Now the only memory still holding the pains,
Is my white shirt covered in red wine stains.
II. Intermezzo
We gather on shores where waves carve the land,
Our voices rise up like birds in flight.
Each note carries shadows we don't understand,
Though sunlight breaks through the fading night.
The water pulls back, revealing stone-
What once seemed impossible now stands clear,
And step by determined step, we've grown
To face what we once held in fear.
I search through echoes of what came before,
My questions persistent as tides that return.
What answers lie waiting on that distant shore?
What lessons remain that I've yet to learn?
The seeking erupts into sudden flame!
Then softens to embers that gently glow,
As fury subsides and waters tame
The current finds pace in its gentle flow.
We gather again where ocean meets earth,
Our chorus now changed by all we've known.
The melody carries both sorrow and worth,
The harmony deeper than when we'd grown.
The shadows still dance with glimmers of light,
The rhythm still carries us toward the new.
As waves keep returning through day and night,
Will answers arrive with the morning dew?
II. Adagio
Seeing the sun rise above the mountain tops,
Glistening white frost on the shore of a glacier lake.
Hearing the echo of the world awakening around you,
And softly sounding from peak to peak.
The Sun warming up and laying
A golden veil on the stone,
My head needs persuading,
My heart feels at home.
Freeze - a cloud!
And on a breath of air a
butterfly goes by.
Something is still holding me
back on the inside,
Hesitating, holding my breath,
yearning for carefree times.
Suddenly the stone is cold and
gray again,
Gone the golden tint.
Through the stone,
Against al odds,
A blue flower blossoming in
front of my eyes.
Don’t worry...
Just let go and dance!
English translation:
I drift in deep melancholy,
My heart laments for distant light.
The friction between dream and reality
Drags my hope thin like morning mist.
My thoughts sail on dark waters,
Frankenstein only a fleeting shadow on the horizon.
What remains is this heavy, tugging depth,
Draws me down into its velvety embrace.
Lamenting like gulls over deserted bays,
My cry fades into the vastness of time.
The friction of the waves against the boat
Sings the song of my silent despair.
In the depths of my soul dwells the truth:
We sail alone, even when we are together,
Carried by the plaintive melody of the wind,
Which knows the secrets of all broken hearts.
English translation:
(Homecoming)
In gentle shadows, secret, soft,
A place that kindles warmth, comfort aloft.
The doors open, memories bloom,
A breath of melancholy, see it gently loom.
The walls whisper of long-gone times,
A feeling of security, silenced merriment chimes,
Yet in the stillness swings a quiet pain,
An echo of longing, deep in the heart contained.
But then, a ray of light breaks in,
The world blossoms, colors so pure within.
A laughter that chases away the shade, J
oy of life, in every heart it's made to stay.
Joy shines, warm and bright,
Flowing through life, clear and light.
A rush of colors, a sweet sound,
The soul's freedom, an eternal round.
Time lingers in tender moments,
A whisper in silence, gently content.
The melody of life, so sweet and clear,
Carries us away, like a soft wind, so near.
In gentle shadows, secret, soft,
A place that kindles warmth, comfort aloft.
Memories bloom, time drifts away,
A feeling of security that's here to stay.
So we return home, with a smile in our gaze,
In passion we find our happiness ablaze.
J. Brahms Sonata in E-flat Major op. 120 No. 2 (23 min)
F. Schubert Arpeggione Sonata (20 min)
R. Schumann Adagio and Allegro (12 min)
D. Shostakovich Four movements from the Gadfly Suite (18 min)
H. Vieuxtemps Sonata for Viola and Piano op.36 (25 min)
The poems I wrote for these pieces will be presented further down in the sections about the public performances and repertoire performed or about the final artistic presentation.
November 26, 2024 Sandvoldsalen NMH
H. Vieuxtemps Sonata for Viola and Piano op. 36
I. Maestoso - Allegro (8min)
Poem by Pauline Schulte-Beckhausen
May 7, 2024 Levinsalen NMH
J. Brahms Sonata in E-flat major op. 120 No. 2
I. Allegro amabile (8 min)
Poem by Pauline Schulte-Beckhausen
November 23, 2023 Levinsalen NMH
F. Schubert Arpeggione Sonata D821 (20min)
I. Allegro moderato
II. Adagio
III. Allegretto
Poems by Pauline Schulte-Beckhausen
March 7, 2024 Levinsalen NMH
D. Shostakovich Four movements from the Gadfly Suite (18 min)
I. Scene
II. Intermezzo
III. Folk's Feast
IV. Romance
Poems by Pauline Schulte-Beckhausen
As the sun dips low, and the day winds down,
I find myself alone in this quiet town.
Raindrops paint the window, a modern art,
A silent symphony, a piece of my heart.
The raindrops run down the window, a stream,
A reflection of my thoughts, in the gleam.
In the midst of the downpour, I find a calm,
A haven of peace, a place to disarm.
As darkness embraces, the world holds its breath,
A canvas of dreams, where possibilities are met.
And as the night deepens, and the stars appear,
I feel warmth, a subtle hope, a gentle cheer.
III. Folk Feast
Feet now stamping, night is falling,
Bodies swaying, dust clouds rising,
Hands are clapping, voices calling,
Dancers spinning, world disguising.
Skirts now flying, wide and swirling,
Laughter breaking, breaths now failing.
Round they circle, ever faster,
Hair now loosened, wildly flying,
Hearts now pounding, sweet disaster,
Lungs now burning, no denying.
Fabrics whirling, bright with color,
Earth and heaven blurred together.
Heels now striking, never ceasing,
Village moving, one soul breathing.
III. Allegretto
Hungarian dance steps quick and bright,
Folky rhythms fill the air.
Villagers twirl from day to night,
Joy and music everywhere.
In this dance of question and answer,
Partners read each other's cue.
One step forward, one step back,
Ancient patterns made anew.
Alone reminiscing in evening's glow,
I hold these moments in my mind.
The shared laughter, the vibrant show,
Memories of a sweeter kind.
When paths diverge and crowds depart,
The echoes of the dance remain.
Conversations etched upon my heart,
Until the music starts again.
Adagio
Dein Vaters Männer töten mich sogleich—
„Warum bist du hier?" Weil in deinen Augen
Die Sterne leuchten, die ich suche. „Reich
Ist nicht die Zukunft, die wir uns erlauben."
Doch stehst du hier im Regen. „Welche Macht
Hält dich bei mir?" Dieselbe wilde Glut,
Die dich die Mauern klettern ließ. „Die Nacht
Verschleiert, was am Tag verboten." Mut
Erwächst aus Liebe, die nicht schweigen kann.
Zwei Häuser, beide gleich an—„Sprich nicht aus,
Was uns verwehrt bleibt." Namen sind wie Ketten.
„Sie können uns nicht ewig binden." Graus
Erfüllt mich, wenn ich denke, was uns droht.
„Still, glaube mir, mein Herz gehört nur dir,
Als meiner wahren, einz'gen Seelenhälfte."
Allegro
ERWACHT! Die Jagd nach Freiheit bricht nun an!
Der Konvention erstarrtes Reich erbebt!
Wir reiten Seit' an Seite, Bann um Bann
Zerbricht wie Ketten unter Hufschlag. Lebt,
Wo Zwänge sonst das Herz in Fesseln legen!
Das Horn verkündet neue Morgenröte!
Die Freiheit kann nicht unsrem Geist entflieh'n!
Sie lockt uns wie das Funkeln ferner Küsten!
Wir fordern, was durch Recht uns zugedacht—
Das Leben ohne Maske, ohne List!
Kein Vorurteil der alten Welt besteht
Dem Sturm, den unsre Sehnsucht frei entfacht!
Was gilt der Brauch, wenn doch die Liebe spricht
Mit klarer Stimme gegen alten Wahn?
Die Regeln, die man uns zur Pflicht gemacht,
Verblassen vor der Wahrheit unsrer Bahn.
Vielleicht birgt größ're Weisheit dieser Schwur:
Zwei Herzen, eins im stillen Mondenschein,
Verbunden durch des Schicksals tiefe Spur.
ERWACHT! Die Jagd nach Freiheit bricht nun an!
Der Konvention erstarrtes Reich erbebt!
Wir reiten Seit' an Seite, Bann um Bann
Zerbricht wie Ketten unter Hufschlag. Lebt,
Wo Zwänge sonst das Herz in Fesseln legen!
Das Horn verkündet neue Morgenröte!
Die Ordnung selbst zerbricht vor unserer Liebe!
Die Sterne folgen Bahnen unserer Träume.
Die Sage wächst von zwei, die mutig gehen.
Des Weltlaufs Urgrund selbst beginnt zu beben!
Wir leuchten heller als die Sonne selbst.
Vor uns'rem Schwur verstummen selbst die Spötter!
IV. Romance
In whispers soft as morning dew,
"I love you more than words can tell,
Your smile lights up my darkest days,
In your embrace, my heart does swell."
"And I love you beyond measure,
Beyond the stars, beyond the sea,
But others watch with judging eyes,
Will they ever let us be?"
Lightning flashes, thunder roars,
Their voices rise like crashing waves,
"Can love survive such scrutiny?"
"Is passion worth the price it pays?"
"Are we fools to fight the world?"
"Is our bond too frail to save?"
The tempest ebbs, their voice grows calm,
"Their thoughts are clouds that drift away,
Our love stands firm like mountain stone,
It's ours alone, come what may."
Her fears dissolve like morning mist,
As understanding fills her heart," I see it now,
What others think can't tear apart
This precious gift we've found in us."
English translation:
Adagio
Your father's men will kill me at once—
"Why are you here?" Because in your eyes
The stars shine that I seek.
"Rich Is not the future we allow ourselves."
Yet you stand here in the rain. "What power
Keeps you with me?" The same wild ardor
That made you climb the walls. "The night
Veils what is forbidden by day." Courage
Grows from love that cannot be silenced.
Two houses, both alike in—"Do not speak
What remains denied to us." Names are like chains.
"They cannot bind us forever." Horror
Fills me when I think of what threatens us.
"Hush, believe me, my heart belongs only to you,
As my true, only soulmate."
Allegro
AWAKE! The hunt for freedom now begins!
The rigid realm of convention trembles!
We ride side by side, ban by ban
Breaks like chains under hoofbeats. Live,
Where constraints would otherwise shackle the heart!
The horn proclaims a new dawn!
Freedom cannot escape our spirit!
It lures us like the sparkle of distant shores!
We demand what is rightfully ours—
Life without mask, without guile!
No prejudice of the old world withstands
The storm our longing freely ignites!
What is custom worth when love speaks
With clear voice against old delusion?
The rules made our duty
Fade before the truth of our path.
Perhaps greater wisdom lies in this vow:
Two hearts, united in quiet moonlight,
Connected through fate's deep trace.
AWAKE! The hunt for freedom now begins!
The rigid realm of convention trembles!
We ride side by side, ban by ban
Breaks like chains under hoofbeats. Live,
Where constraints would otherwise shackle the heart!
The horn proclaims a new dawn!
Order itself shatters before our love!
The stars follow orbits of our dreams.
The legend grows of two who boldly go.
The very foundation of the world begins to tremble!
We shine brighter than the sun itself.
Before our vow, even the mockers fall silent!
November 26, 2024 Sandvoldsalen NMH
R. Schumann Adagio & Allegro ( 12 min)
Poem by Pauline Schulte-Beckhausen
Der Erlkönig
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohn in dem Arm,
Er faβt ihn sicher, er hält ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht?
“Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif?”
Mein Sohn, es ist ein Nebelstreif.
‘Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel ich mit dir
Manch bunte Blumen sind an dem Strand.
Meine Mutter hat manch gülden Gewand.’
“Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?”
Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind.
‘Willst, feiner Knabe, du mit mir gehn?
Meine Töchter solln dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein.’
“Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?”
Mein Sohn, mein Sohn, ich seh es genau;
Es scheinen die alten Weiden so grau.
‘Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt.’
“Mein Vater, mein Vater, jetzt fasst er mich an!
Erlkönig hat mir ein Leids getan!”
Dem Vater grauset’s, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
English translation:
Who rides so late through the night and wind?
It is the father with his child.
He has the boy in his arms;
he holds him safely, he keeps him warm.
‘My son, why do you hide your face in fear?’
‘Father, can you not see the Erlking?
The Erlking with his crown and tail?’
‘My son, it is a streak of mist.’
‘Sweet child, come with me.
I’ll play wonderful games with you.
Many a pretty flower grows on the shore;
my mother has many a golden robe.’
‘Father, father, do you not hear
what the Erlking softly promises me?’
‘Calm, be calm, my child:
the wind is rustling in the withered leaves.’
‘Won’t you come with me, my fine lad?
My daughters shall wait upon you;
my daughters lead the nightly dance,
and will rock you, and dance, and sing you to sleep.’
‘Father, father, can you not see
Erlking’s daughters there in the darkness?’
‘My son, my son, I can see clearly:
it is the old grey willows gleaming.’
‘I love you, your fair form allures me,
and if you don’t come willingly, I’ll use force.’
‘Father, father, now he’s seizing me!
The Erlking has hurt me!’
The father shudders, he rides swiftly,
he holds the moaning child in his arms;
with one last effort he reaches home;
the child lay dead in his arms.