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Franz SCHUBERT/

Bernhard COSSMANN

Erlkonig - Le Roi des Aulnes


The Erlking
f or Violoncello solo

First Edition
Edited by Christian Bellisario

Urtext

An Anthology of Celio Caprices (No. 1)

© 2006 by The White Prince Edition, www.thewhiteprince.com


All international rights reserved, including the right of public
performance, and recording.

+
IHS
Preface

ERLKONIG TUE ERLKING


(Johann Wolfgang von Goethe)
(Johann Wolfgang von Goethe)

Wer reitet so spiit durch Nacht und Wind?


Who rides so late through night and wind?
Es ist der Vater mit seinem Kind; A father with bis child.
Er hat den Knaben wohl in dem Arm, He has the boy in bis arms,
Er fasst ihn sicher, er hiilt ihn warm. He holds him safely, he keeps him warm.

Mein Sohn, was birgst du so bang dein Gesicht?- My son, why do you bide your face in fear?-
Siehst, Vater, du den Erlkonig nicht? Father, can you not see the Erlking?
Den Erlenkonig mit Kron' und Schweif?- The Erlking with bis crown and train?-
Mein Sohn, es ist ein Nebelstreif.- My son, it is a streak of mist.-

"Du liebes Kind, komm, geh mit mir! "Sweet child, come with me!
Gar schone Spiele spiel' ich mit dir; l'll play wonderful games with you;
Manch' bunte Blumen sind an dem Strand; Many a pretty flower grows on the shore,
Meine Mutter hat manch giilden Gewand." My mother has many a golden robe."

Mein Vater, mein Vater, und horest du nicht, Father, father, do you not bear
Was Erlenkonig mir leise verspricht?- What the Erlking softly promises me?-
Sei ruhig, bleibe rubig, mein Kind; Calm, be calm my child;
In diirren Bliittern siiuselt der Wind.- The wind is rustling in the withered leaves.-

"Willst, feiner Knabe, du mit mir gehn? "Won't you come with me, my fine lad?
Meine Tochter sollen dich warten schon; My daughters shall wait upon you;
Meine Tochter fiihren den niichtlichen Reihn, My daughters lead the nightly dance,
Und wiegen und tanzen und singen dich ein." And will rock, and dance, and sing you to sleep."

Mein Vater, mein Vater, und siehst du nicht dort Father, father, can you not see
Erlkonigs Tochter am diistern Ort?- Erlking's daughters there in the darkness?-
Mein Sohn, mein Sohn, ich seh' es genau: My son, I can see clearly:
Es scheinen die alten Weiden so grau.- lt is the old grey willows gleaming.-

"lch liebe dich, mich reizt deine schone Gestalt; "I love you, your fair form allures me;
Und bist du nicht willig, so brauch' ich Gewalt." And if you don't come willingly, l'll use force."
Mein Vater, mein Vater, jetzt fasst er mich an! Father, father, now he's seizing me!
Erlkonig hat mir ein Leids gethan!- The Erlking has hurt me!-

Dem Vater grauset's, er reitet geschwind, The father shudders, he rides swiftly,
Er hiilt in Armen das iichzende Kind, Holding the moaning child in his arms,
Erreicht den Hofmit Miih' und Noth; With one last effort he reaches home;
In seinen Armen das Kind war todt. The child lay dead in his arms.

3
The fascinating and frightening Danish Weimar and Saxe-Eisenach) on 22 J
' uly 1782
legend of the EUerkonge was introduced to and later published on 21 and 28 S '
. " eptemher
German literature by the poet Johann 1 782 m the Berliner Litt eratur und
Gottfried von Herder (1744-1803) with the Theaterzeitung".
poem Erlkonigs Tochter inserted in the second "Dortchen" (Dorothea) who sings the h alladin
book [no. 27, page 158] of his Volkslieder, the opening of the Singspiel ' was first pe rfor-
published in Leipzig in 1778-79 (reprinted in med by the famous German soprano eorona
1807 with the title Stimmen der Volker in Schroter (1748-1802) who composed the first
Liedern, Voices of the People in Song). musical setting of the Erlkonig, puhlished in
her collection 25 Lieder in Musik gesetzt in
1t was, however, the ballad Erlkonig of
Weimar in 1786.
Johann Wolfgang von Goethe (1749-1832) of
After this first melody of Goethe's hallad ,
1781 that made the Nordic legend of the King
there followed musical versions hy Johann
of the Elves universally known. A father rides
Friedrich Reichardt (1793), Andreas Romherg
in the dark of night protecting his son from the
(1793), Gottlob Bachmann (1798), Cari
fury of the wind; when suddenly the child sees
Friedrich Zelter (1807), Cari Czerny (1811),
the Erlking, the King of the Elves, wrapped in
Cari Loewe (1818), Wenzel Johann Tomaschek
a cape and wearing a crown, who, drawing
(1818), Julius Schneider (1828), Louis Spohr
near, promises amusements, golden vestments
(1856), and by many other composers from all
and nocturnal songs and dances of his dau-
over Europe; even Ludwig van Beethoven left
ghters. In vain the father tries to reassure his
a musical sketch (WoO 131, 1795 circa), his
son explaining to him that what he saw was
first outline of a composition of a song on
only the fog, that what he heard was only the
Goethe 's ballad.
wind rustling through the dry leaves, and what
scared him were the shadows of old grey willow The 18-year-old Franz Schubert (1797-

tre.e s. The Erlkonig insists and threatens to 1828) composed music for the Erlkonig of

take the child by force. The child makes a final Goethe in 1815: Joseph von Spaun, his intima-

plea to his father, who quickly gallops off, te friend, left us a famous story of the circum-
stances relative to its creation: "One afternoon
fearfully holding his child tightly to himself,
(in the year 1815) I went to Schubert with
but when he reaches his house, he finds his son
Mayrhofer [ ... ] We found him excitedly reading
dead in his arms.
Erlkonig aloud from the book. He paced back
J.W. Goethe used the ballad, as an ..Aria", in
and forth several times with the book in bis
the opening of his Singspiel Die Fischerin, per- · the
formed for the fi.rst time in the park of Schloss hand; then he suddenly sat down, an d I.D
shortest time imaginable, as fast as be could
Tiefurt, a small castle on the river Ilm located
about foùr km northeast of the centre of write, he committed the magnificent ballad to

Weimar (for ahout 25 years the summer resi- paper" [Otto Erich Deutsch, ed.: Schubert: Die
. ·., 1966]-
dence of Anna Amalia Duchess of Saxe- Erinnerungen seiner Fre ude , Le1pzig,

4
The Lied (D 328), has come down to us in four by the German violinist Auguste Moser,
versions, which differ in only a few details. It (Berlin, 1825 - died on tour in America, 1859),
was published (Schubert's first printed work, son and pupil of Karl Moser; this was follo-
financed on commission) by Cappi & Diabelli wed by the celebrated version of the great
in Vienna, and appeared as op. 1 on 2 April Austrian virtuoso, imitator of Paganini,
1821, dedicated to bis patron, the Austrian Heinrich Wilhelm Ernst (Raussnitz [Rousinov
composer Grafen Moriz von Dietrichstein / Vyskov)], near Brilnn [Brno], 1814 - Nice,
(1775-1864). The first public performance was 1865), who in 1854 puhlished in Hamhurg
given at Kiirntnertor Theater on 7 March and in London Le Roi des Aulnes, Grand
1821, when it was sung by the baritone Johann Caprice pour le violon seul, par H. W. Ernst
Michael Vogl, accompanied on the piano by [Schott & Co.].
Anselm Hilttenbrenner.

Schubert's extraordinary
musical expression of Goethe's
elegant presentation of the intri-
guing legend of the Erlkonig
soon attracted and fascinated
important musicians who wan-
ted to undertake transcribing
the Lied for their instruments.
Transcriptions and paraphrases
for solo piano were prepared by
Franz Liszt in 1838 (Erlkonig,
Lied von Fr. Schubert Fur das
Piano-Forte Uhertragen von Fr.
Liszt, Wien, bei Diabelli et
Comp., S 558 No.4, LW A42/4),
by Constantin Decker (1840), by
Stephen Heller (op. 34:
Mélodies de Schubert, Erlkonig,
Berlin 1844; 30 Lieder von
Schubert, iihertragen, Cologne,
1846), by Gustav Lange (op. 90,
No. 10), by A. Kreutzer, F.
Schluter, W.G. Michalek, etc.

The first version for solo


violin appeared in 1843, a work

5
torium der Musik' founded the 2 April 1843 by
The historical version for solo celio of
Felix Mendelssohn-Bartholdy).
the Erlkonig of Schubert that we present in
In 1849 Cossmann travelied and performed ali
this edition was adapted by the great German
over England and Ireland, including perfor-
cellist Bernhard Cossmann in 1890 for the
mances at Windsor Castle for Queen Victoria
exclusive use of his student Heinrich Kiefer, as
and for the Dublin Philharmonic Society.
the autograph edition indicates in the dedica-
tion on the fifth page of the manuscript after Before returning to Germany, in January

the last chord of the transcription: "Ùbertra- 1850, Cossmann spent some time in Paris
gung der Erlkonig von Schubert fiir Celio where he gave severa! concerts with Joachi.m.
allein, zum alleinigen Gebrauch fiir Heinrich In August of 1850 Franz Liszt, who was prepa-
Kiefer"; "Fr(an]kfTurt] 28. Nov. (18]90" von ring to stage the first performance of Wagner's
B. Cos8mann (Transcription of the Erlkonig Lohengrin (Grossherzogliches Hoftheater, 28
of Schubert for solo celio, for the exclusive use August 1850), calied Cossmann to be principal
of Heinrich Kiefer, Frankfurt 28. Nov. 1890 solo celio of the Weimar Orchestra: "Our vio-

by B. Cossmann]. loncelios will be strengthened by the arrivai


Bernhard Cossmann, the son of a Jewish from Paris of Cossmann, who will join our
merchant, was boro in Dessau on 17 May 1822. orchestra on August 15th. This is an excellent
His first celio teachers in Dessau were L. acquisition, which will, I hope, be foliowed
Espenhahn (1810-1879) and Karl Drechsler by some others of the same sort, etc." (Liszt's
(1800-1873); from 1837 to 1840 he studied with letter to Wagner). Cossmann then remained
August Theodor Miiller (1802-1875), cellist of solo cellist for the Duke of Weimar for over
the world-famous Miillersche Streichquartett of sixteen years: in these years of activity in
Braunschweig. Finally, Cossmann completed Weimar Cossmann often played in quartet
his studies in Dresden with Friedrich August with Joseph Joachim, Ferdinand Laub,
Kummer (1797-1879), author of, among other Edmund Singer, Leopold Damrosch, August
things, a simple transcription for celio and Kompel, and many other important musicians.
piano of Schubert's Erlkonig (op.117 No. 20). From 1866 to 1870 Cossmann moved to Moscow
From 1840 to 1846 Cossmann was principal where he was appointed Professor at the just
cellist at the ltalian Theater in Paris and gave founded Imperia! Conservatoire of Moscow, and
concerts in London, Berlin, Leipzig, etc. where be continued his concert career: his per-
In 1847 Mendelssohn named him solo cellist of formances of Rohert Schumann 's Cello Con-
the Gewandhaus of Leipzig; in those years he certo on 14 and 21 Decemher 1867 with Nikolay
often played in quartet with Ferdinand David, Rubinstein as conductor remain memorahle.
Joseph Joachim and Niels Wilhelm Gade, and When he returned to Germany he established
he became dose friend with Franz Liszt and himself in Baden-Baden and appeared in
furthered his studies in harmony and composi- numerous concerts playing with Anton
tion with Moritz Hauptmann (1792-1868; from Rubinstein, Clara Wieck-Schumann, Johan-
1843 Lehrer der Teorie at the 'C onserva- nes Brahms, Hans von Biilow, Heinrich

6
Wieniawski, Camillo Sivori, Teodor Lesche- Klavier in F-sharp minor Op. 1 (1890). Hans
titzky, Annette Essipoff, David Popper, Sophie Pfitzner, deeply saddened at his premature
Menter, Johann Strauss, Camille Saint-Saens death, wrote an essay entitled Zum Gedachtnis
'
Hector Berlioz, and many other important Heinrich Kiefers [In Memory of Heinrich
musical personalities. Kiefer ], (printed in the second Volume of his
In 1878 Joachim Raff appointed him professor Gesammelte Schriften, Augsburg 1926).
of celio at the Boch'schen Konservatorium of Bernhard Cossmann, author of many ori-
Frankfurt am Main, a post he held until his ginai works and of diverse "Phantasien" on
death on 7 May 1910. Among his many students motifs from opera (such as Freischutz, Euryan-
were Joseph Diem, Hermann Heberlein, Fre- the, etc.) as weli as on weli-known pieces (also
deric Hess, Heinrich Kruse, Heinrich Appunn, for solo celio such as "Paraphrase sur une
Karl Klein, Carl Fuchs, Anatoly Brandukoff, chanson populaire allemande, Ach, wie ists
Vìctor Herbert and Heinrich Kiefer. moglich dann. Thiiringen Volkslied''), had for-
Heinrich Kiefer (1867 -1922), special merly dedicated his Fiinf Neue Concert Etuden
dedicatee of Cossmann's transcription of the to Heinrich Kiefer.
Erlkonig, studied first at the Conservatory of The transcription of the Erlkonig was
Munich (1883), then at that of Stuttgart (1884- given to Kiefer in manuscript, for his exclusive
1887) and from 1887 to 1890 at the Hoch'schen use, because with his great talent he would be
Konservatorium of Frankfurt a. M. under the able to explore the possibilities of the piece and
direction of Bernhard Cossmann, where he bring it to life; we know that in reality Kiefer
distinguished himself for his musical persona- studied the Erlkonig prepared by his maestro
lity and his virtuosity. In 1896 he became solo very carefully and wrote another copy (now in
cellist of the Philharmonic Orchestra of a private coliection) with many alterations.
Leipzig, moving in 1898 to Berlin to hold the Cossmann's transcription reveals a truly deep
position of solo cellist at the Philharmonic knowledge of the celio and of its peculiar po-
Orchestra and (in the years 1900 and 1901) tential: nowhere does it show, for example, any
the position of teacher at the Sternschen influence of the transcription for violin of H. W.
Konservatorium. In 1902 h l transferred to Ernst; and in it we can see the reasons for the
Munich where he founded the Miinchen special admiration that Bernhard Cossman and
Streichquartett and was also very active, with the ltalian virtuoso Alfredo Piatti had for each
great success, as a soloist. He then transferred other, as Carl Fuchs telis us: "Alfredo Piatti
to Dresden. He was a good friend of the was one of the great 'cellists. He dedicated to
German composer Hans Pfitzner (1869-1949), my master Cossmann his Twelve Caprices,
whom he met when they were both students at beautiful studies. The admiration of these two
the Hoch'schen Konservatorium of Frankfurt: great 'cellists was mutuai, for Cossmann dedica-
Pfitzner dedicated to him both his Koncert in ted his five great Concert Studies (op. 10) to
a-Moll fur Violoncello und Orchester (1888, Piatti" [Musical and other Recollections ofCarl
op. posth.) and his Sonatefii,r Violoncello und Fuchs 'cellist, Sherratt and Hughes, 1937].

7
In my edition of the Erlkonig I chose to written in this way to allow the pe..r.0
'J' rmer to
leave only the originai indications of fingerings make the note resound as long as possible.]
and bowings of Bernhard Cossmann: after Only in certain passages do the values and
careful analysis we believe that all the indica- the rhythm of the notes of the principal
tions in the manuscript, both in black ink and voice (melody of the Lied) differ slightly
in pencil (corrections), are originai and in the from the originai values of Schubert (the
hand of the author B. Cossmann. most evident case is that of bar 82); in hars
With the intention of making the originai 81, 134 and 138, Schubert's notes omitted
text of Schubert's Lied as intelligible as possi- by Cossmann are added in square hrackets.
ble, I have done the following: Cossmann 's alternative slurs or articu-
• I have preserved the dynamics annotated in lations are indicated within (round paren-
the originai Lied (followed both by Liszt and thesis);
by Ernst in their transcriptions), which are • and lastly, this time following the example
entirely absent in Cossmann's manuscript: of the transcription for piano of Franz Liszt,
such indications are added within [ square I have placed the text of Goethe's hallad
hrackets]; ahove the melody.
• I preferred to keep the originai value of the
The editor and the publishers wish to
melodie notes as much as possihle, following thank Dr. Sylvia Mattl-Wurm and Dr. Thomas
the example of H. W. Ernst, whereas in Aigner of the Wiener Stadt- und Landeshi-
Cossmann 's manuscript all notes of the hliothek for placing copies of the manuscript
melody are written as eighth notes. of Bernhard Cossmann at their disposal.
Ernst explains in a footnote in the first page We want also extend our thanks to Valentino
of his transcription: Tessaro, to Barbara Rogers, and to Penelope
"Les viownistes comprendront aisément que Margaret Mackworth-Praed.
les notes qui forment le chant ne peuvent
étre rendues dans leur enti.ère valeur telles Christian Bellisario
qu'elles sont écrites; elles n'ont été marquées
de cette mani.ère que pour que l'exécutant
les fasse resortir le mieux et les plus possible.
Die Violinspieler werden leicht hemerken,
dass die Noten, welche den Gesang hilden,
nicht nach ihrem Werthe gehalten werden
konrien; sie wurden auf diese Art nur
geschriehen, damit der Vortragende sie so
sehr als moglich heraushehe. "
[Violinists will easily understand that the
notes of the vocal line cannot be played with Listen to performances of the Erlkonig at:
their full value as written: they have been www.thewhiteprince.com

I 8
ERLKONIG - LE ROI DES AULNES
The Erlking, ballade by J. W. v. Goethe

Franz Schubert, op. 1 (D 328)


Transcribed by Bernhard Cossmann
Edited by Christian Bellisario

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