if babylover0990 happens to look at this video four years later... Narrator: Who rideth so late through night wind wild? It is the father with his child; and well the boy he holds in his arms, he holds him closely to keep him warm. Father: My son, why hidest thy face now in fear? Child: Oh father, seest not th' Erlking appear? Th' Erlking yonder with crown and train! Father: My son, 'tis only mist and rain. Erlking: Thou lovely child, come, go with me and many games I'll play with thee where gayest flowers are in the wold and my mother has many garments of gold. Child: My father, my father, and canst thou not hear the Erlking whispering now in my ear? Father: Oh hush thee, never fear thee my son; in yon' dry leaves the winds ever moan. Erlking: Oh lovely boy, come down and play, for here you may do as you like all day! When my daughters nightly their revels do keep they'll rock thee, and dance thee, and sing thee to sleep. Child: My father, my father, and dost thou not see the Erlking's daughters in yonder glade? Father: My son, my son, it's only the gleam that shines on the willow down by the stream. Erlking: I love thee for charming thou art and so fair! And if thou resist me, I warn thee! Beware! Child: My father, my father, he won't let me go! The Erlking has seized me! He hurts me so! Narrator: The father shudders! He rides on apace, his child ever clasping in closer embrace. He reaches home in mortal dread! Within his arms the child was dead.
I really like this english, besides it looks like german for "thou" : (today) you do (Old english) thou dost (German) du tust -st for the 2nd person like in german -t(h) for the 3rd
oh my god I had had this tapet my dad took off the air live, and some years back i lost it , I have been I was heart broken , i never thought I would ever hear it again. My god . thnk you, . the most dramatic interpretation I have ever heard.
Surely the definitive version of this piece. Certainly amongst the male voices. The fact it is live & not a studio recording makes it even more incredible.
Tibbett's magnificent ability to modulate his voice to fit the song or aria, is perhaps more evident in this piece than in any other, as the speaker changes from a narrator, to a frightened child, to a devilish spirit trying to snatch the child away, to the desperate father trying to protect him. You can literally hear four different people singing, as both the tone quality and mood change dramatically from stanza to stanza, and all are accompanied by that marvelous diction, which allows you to hear every word so clearly, and thus notice how perfectly the singing style matches the words.
Tibbett performed this many times in broadcast and recital. Two possibilities for this air check are the CBS broadcast of 16 Feb 1938 with Andre Kostelanetz & His Orchestra and the Ford Sunday Evening Hour broadcast of 24 Sept 1939 with Eugene Ormandy and the Ford Symphony Orchestra, also on CBS.
Winston Tharp I doubt that the recording was done as late as 1938 or '39. By 1938 Tibbett's voice was in decline owing to a horrendously dissolute lifestyle. My guess is that this recording dates from about 1933-35.
@@andrewmargrave7518 I'm no Tibbett scholar, but the Weinstat & Wechsler biography Dear Rogue claims that his vocal problems didn't manifest until early 1940.
The Weinstat-Wechsler bio is not the last word in accuracy. A recording of Schubert's "Die Allmacht" (in English) made on January 4, 1940 shows clear and significant evidence of vocal decline. My father, a noted musician who was old enough to remember Tibbett's downfall, told me that "his voice was pretty well shot by then" (early 1940).
A drága Polgár Lászlótól hallottam először a várban az Úri u.i Shubert estek egyikén...a lúdbőr a karomon...Olyan érzelemmel énekelte...s nincs meg semmilyen hangfelvételen...vérzik a szívem érte!
As with Loewe‘s EDWARD, the use of an English translation was perhaps understandable especially for many of Tibbett‘s listeners at the time. What makes this ERLKONIG performance more palatable than EDWARD is that Tibbett reduces the melodramatics somewhat & does not desecrate the music as is the case with LOEWE‘s Lied. Still, the English text interferes with matching Schubert‘s musical phrases to Goethe‘s poem. In Tibbett‘s time there was perhaps no English translation printed in the program anyway & even nowadays expecting the listener to follow the translated text as well as the artist‘s delivery seems for some too much to ask. The translation, if included in the program, may also be read before the performance but is this also expecting too much? It is still easier probably than trying to follow subtitles for an entire an opera performance. Tibbett’s remains a giant figure among baritones & his wish to communicate with his public remains admirable despite some of the steps he took in trying to fulfill this goal.
He does sing it magnificently, with clear diction. But why in English instead of the original German? Schubert wrote the music to German words with German phonetics. Besides, no English translation can hope to match or even approach the sheer literary magnificence of Goethe's original.
Words resonate more within you if they are said in a language you can understand; being Italian i would never want to hear a version of "Le Nozze di Figaro" in german, because I can already fully appreciate the libretto Da Ponte wrote, but I can understand that for non italian-speaking people a translation helps them appreciate the music even more.
Tibbett is great. But I hate the English, and the orchestration. Do he ever record the original German with just piano. I want to hear that, if so. Not this.
@@YellinMelinOFCL This is a (skilled) travesty of what the composer's intention should sound like. Fortunately the German original is abundantly available.
![Schubert - Der Erlkönig [魔王] (complete version.)](http://i.ytimg.com/vi/5XP5RP6OEJI/mqdefault.jpg)
![Schubert - Der Erlkönig [魔王] (complete version.)](/img/tr.png)
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
if babylover0990 happens to look at this video four years later...
Narrator:
Who rideth so late through night wind wild?
It is the father with his child;
and well the boy he holds in his arms,
he holds him closely to keep him warm.
Father:
My son, why hidest thy face now in fear?
Child:
Oh father, seest not th' Erlking appear?
Th' Erlking yonder with crown and train!
Father:
My son, 'tis only mist and rain.
Erlking:
Thou lovely child, come, go with me
and many games I'll play with thee
where gayest flowers are in the wold
and my mother has many garments of gold.
Child:
My father, my father, and canst thou not hear
the Erlking whispering now in my ear?
Father:
Oh hush thee, never fear thee my son;
in yon' dry leaves the winds ever moan.
Erlking:
Oh lovely boy, come down and play,
for here you may do as you like all day!
When my daughters nightly their revels do keep
they'll rock thee, and dance thee, and sing thee to sleep.
Child:
My father, my father, and dost thou not see
the Erlking's daughters in yonder glade?
Father:
My son, my son, it's only the gleam
that shines on the willow down by the stream.
Erlking:
I love thee for charming thou art and so fair!
And if thou resist me, I warn thee! Beware!
Child:
My father, my father, he won't let me go!
The Erlking has seized me! He hurts me so!
Narrator:
The father shudders! He rides on apace,
his child ever clasping in closer embrace.
He reaches home in mortal dread!
Within his arms the child was dead.
By the way, this should be the Liszt orchestration.
I really like this english, besides it looks like german for "thou" :
(today) you do (Old english) thou dost (German) du tust
-st for the 2nd person like in german
-t(h) for the 3rd
William Goforth I love this song so much
oh my god I had had this tapet my dad took off the air live, and some years back i lost it , I have been I was heart broken , i never thought I would ever hear it again. My god . thnk you, . the most dramatic interpretation I have ever heard.
Surely the definitive version of this piece. Certainly amongst the male voices. The fact it is live & not a studio recording makes it even more incredible.
Tibbett's magnificent ability to modulate his voice to fit the song or aria, is perhaps more evident in this piece than in any other, as the speaker changes from a narrator, to a frightened child, to a devilish spirit trying to snatch the child away, to the desperate father trying to protect him. You can literally hear four different people singing, as both the tone quality and mood change dramatically from stanza to stanza, and all are accompanied by that marvelous diction, which allows you to hear every word so clearly, and thus notice how perfectly the singing style matches the words.
This is awesome! Tibbett has a truly impressive voice. Also good to hear it in english
I looking for English Ver long time! Thank you soooo much!!!
This singer is a star and a great actor!!!! Now, you can sing in heavens too this song!!!!!! 😍😍😍👼👼👼👼👼💐💐💐🌹🌹🌹❤❤❤❤❤
I my opinion this is the finest recording of this dramatic art song ever made n
@princeofpoverty Thanks for the comment. I suggest you also try Set Svanholm.
A tour de force! Excellent diction
Tibbett performed this many times in broadcast and recital. Two possibilities for this air check are the CBS broadcast of 16 Feb 1938 with Andre Kostelanetz & His Orchestra and the Ford Sunday Evening Hour broadcast of 24 Sept 1939 with Eugene Ormandy and the Ford Symphony Orchestra, also on CBS.
Winston Tharp I doubt that the recording was done as late as 1938 or '39. By 1938 Tibbett's voice was in decline owing to a horrendously dissolute lifestyle. My guess is that this recording dates from about 1933-35.
@@andrewmargrave7518 I'm no Tibbett scholar, but the Weinstat & Wechsler biography Dear Rogue claims that his vocal problems didn't manifest until early 1940.
The Weinstat-Wechsler bio is not the last word in accuracy. A recording of Schubert's "Die Allmacht" (in English) made on January 4, 1940 shows clear and significant evidence of vocal decline. My father, a noted musician who was old enough to remember Tibbett's downfall, told me that "his voice was pretty well shot by then" (early 1940).
@@winstontharp1840 His priblems was alcohol.
Do you think this performance would be in the public domain by now?
Adorable! Beauty interpretation. Thanks.
Divino.
❤️👏👏👏👏👏👏👏
i remember learning this in secondary school when i was about 13
What a voice! What creepy story!
A drága Polgár Lászlótól hallottam először a várban az Úri u.i Shubert estek egyikén...a lúdbőr a karomon...Olyan érzelemmel énekelte...s nincs meg semmilyen hangfelvételen...vérzik a szívem érte!
As with Loewe‘s EDWARD, the use of an English translation was perhaps understandable especially for many of Tibbett‘s listeners at the time.
What makes this ERLKONIG performance more palatable than EDWARD is that Tibbett reduces the melodramatics somewhat & does not desecrate the music as is the case with LOEWE‘s Lied. Still, the English text interferes with matching Schubert‘s musical phrases to Goethe‘s poem. In Tibbett‘s time there was perhaps no English translation printed in the program anyway & even nowadays expecting the listener to follow the translated text as well as the artist‘s delivery seems for some too much to ask. The translation, if included in the program, may also be read before the performance but is this also expecting too much? It is still easier probably than trying to follow subtitles for an entire an opera performance.
Tibbett’s remains a giant figure among baritones & his wish to communicate with his public remains admirable despite some of the steps he took in trying to fulfill this goal.
This was a live broadcast. There was no program
Is this recording public domain by now? I imagine it's like 100 years old at this point
Has seized me!
How is this the only English version I can find
Poor man, maybe the Erlking took his soul...... Rest in peace!!!!!!! 😘😘
it would be nice if the words were here to follow along with.
hi how are you?
Anyone have the transcript?
@@CaLemLiza Check out the pinned comment…
@@AfroPoli thank you!! missed that on my phones screen
He looks like Walt Disney
Se questa non è perfezione...
He does sing it magnificently, with clear diction. But why in English instead of the original German? Schubert wrote the music to German words with German phonetics. Besides, no English translation can hope to match or even approach the sheer literary magnificence of Goethe's original.
Sure.... Today we have all this phylological correctness and ZERO voices like Tibbett.
Words resonate more within you if they are said in a language you can understand; being Italian i would never want to hear a version of "Le Nozze di Figaro" in german, because I can already fully appreciate the libretto Da Ponte wrote, but I can understand that for non italian-speaking people a translation helps them appreciate the music even more.
Tibbett is great. But I hate the English, and the orchestration. Do he ever record the original German with just piano. I want to hear that, if so. Not this.
I hope your not asking for a recording of when franz Schubert played it
@@YellinMelinOFCL This is a (skilled) travesty of what the composer's intention should sound like. Fortunately the German original is abundantly available.