A fifth character, the horse, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats. The left hand of the piano part introduces a low-register leitmotif composed of rising scale in triplets and a falling arpeggio.
The moto perpetuo 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, established at the opening. Each of the Son's pleas becomes higher in pitch. Near the end of the piece, the music quickens and then slows as the Father spurs his horse to go faster and then arrives at his destination. The absence of the piano creates multiple effects on the text and music.
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The silence draws attention to the dramatic text and amplifies the immense loss and sorrow caused by the Son's death. The song has a tonal scheme based on rising semitones which portrays the increasingly desperate situation:. The 'Mein Vater, mein Vater' music appears three times on a prolonged dominant 7th chord 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 stretto. Much of the major-key music is coloured by the flattened submediant , giving it a darker, unsettled sound.
The piece is regarded as extremely 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 which contribute to the drama and urgency of the piece. The rhythm of the piano accompaniment also changes within the characters.
The first time the Erl-king sings in measure 57, the galloping motive disappears. However, when the Erlking sings again in measure 87, the piano accompaniment plays arpeggios rather than chords. Carl Loewe 's setting was published as Op. Collected with it were Op. Inspired by a German translation of Scottish border ballads, Loewe set several poems with an elvish theme; but although all three of Op.
The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano. In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure. Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant, which have a stark quality owing to their unusual relationship to the home key.
The narrator's phrases are echoed by the voices of father and son, the father taking up the deeper, rising phrase, and the son a lightly undulating, answering theme around the dominant fifth. These two themes also evoke the rising and moaning of the wind. Only with his final threatening word, "Gewalt", does he depart from this chord. Loewe's implication is that the Erlking has no substance, but merely exists in the child's feverish imagination.
As the piece progresses, the first in the groups of three quavers is dotted to create a breathless pace, which then forms a bass figure in the piano driving through to the final crisis. The last words, war tot , leap from the lower dominant to the sharpened third of the home key; this time not to the major but to a diminished chord, which settles chromatically through the home key in the major and then to the minor. From Wikipedia, the free encyclopedia. This article is about the poem by Goethe. For the German legend this poem is based on, see Erlking. This article needs additional citations for verification.
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The Poems of Goethe. German Poetry in Song. Retrieved 8 October An Introduction to Perceptive Listening. Johann Wolfgang von Goethe. Dichtung und Wahrheit Italian Journey. Metamorphosis of Plants Theory of Colours colour wheel. Songs by Franz Schubert. Schubert's song cycles , including: But from the entrance in the middle, an old priest appears and lets Tamino in.
The old priest is referred to as "The Speaker" in the libretto, but his role is a singing role. He tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship.
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Tamino plays his magic flute. Animals appear and dance, enraptured, to his music.
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Tamino hears Papageno's pipes sounding offstage, and hurries off to find him aria: Papageno and Pamina enter, searching for Tamino trio: They are recaptured by Monostatos and his slaves. Papageno plays his magic bells, and Monostatos and his slaves begin to dance, and exit the stage, still dancing, mesmerised by the beauty of the music chorus: Papageno and Pamina hear the sound of Sarastro's retinue approaching.
Papageno is frightened and asks Pamina what they should say. She answers that they must tell the truth. Sarastro enters, with a crowd of followers. Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his attentions on her. Sarastro receives her kindly and assures her that he wishes only for her happiness. But he refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence on those around her. Pamina, he says, must be guided by a man. Monostatos brings in Tamino. The two lovers see one another for the first time and embrace, causing indignation among Sarastro's followers.
Monostatos tells Sarastro that he caught Papageno and Pamina trying to escape, and demands a reward. Sarastro, however, punishes Monostatos for his lustful behaviour toward Pamina, and sends him away. He announces that Tamino must undergo trials of wisdom in order to become worthy as Pamina's husband.
The priests declare that virtue and righteousness will sanctify life and make mortals like gods " Wenn Tugend und Gerechtigkeit ". The council of priests of Isis and Osiris , headed by Sarastro, enters to the sound of a solemn march. Sarastro tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment. Tamino and Papageno are led in by two priests for the first trial. The two priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and swear them to silence Duet: The three ladies appear and try to frighten Tamino and Papageno into speaking.
Seeing that Tamino will not speak to them, the ladies withdraw in confusion. Monostatos approaches and gazes upon her with rapture. In response to the Queen's questioning, Pamina explains that he is joining Sarastro's brotherhood and she is thinking of accompanying him too. The Queen is not pleased. She explains that her husband was the previous owner of the temple and on his deathbed, he gives the ownership to Sarastro instead of her, rendering the Queen powerless This is in the original libretto, but in modern productions, it is usually omitted, making the scene with Pamina and her mother shorter.
She gives Pamina a dagger, ordering her to kill Sarastro with it and threatening to disown her if she does not.
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Monostatos returns and tries to force Pamina's love by threatening to reveal the Queen's plot, but Sarastro enters and drives him off. Pamina begs Sarastro to forgive her mother and he reassures her that revenge and cruelty have no place in his domain Aria: Tamino and Papageno are led in by priests, who remind them that they must remain silent. Papageno complains of thirst. An old woman enters and offers Papageno a cup of water. He drinks and teasingly asks whether she has a boyfriend. She replies that she does and that his name is Papageno. She disappears as Papageno asks for her name, and the three child-spirits bring in food, the magic flute, and the bells, sent from Sarastro Trio: Tamino begins to play the flute, which summons Pamina.
She tries to speak with him, but Tamino, bound by his vow of silence, cannot answer her, and Pamina begins to believe that he no longer loves her. The priests celebrate Tamino's successes so far, and pray that he will succeed and become worthy of their order Chorus: Pamina is brought in and Sarastro instructs Pamina and Tamino to bid each other farewell before the greater trials ahead, alarming them by describing it as their "final farewell.
Sarastro, Pamina, Tamino — " Soll ich dich, Teurer, nicht mehr sehn? In order to preserve the continuity of Pamina's suicidal feelings, this trio is sometimes performed earlier in act 2, preceding or immediately following Sarastro's aria " O Isis und Osiris ". The priests grant his request for a glass of wine and he expresses his desire for a wife. The elderly woman reappears and warns him that unless he immediately promises to marry her, he will be imprisoned forever. When Papageno promises to love her faithfully muttering that he will only do this until something better comes along , she is transformed into the young and pretty Papagena.
Papageno rushes to embrace her, but the priests drive him back, telling him that he is not yet worthy of her. The three child-spirits hail the dawn. They observe Pamina, who is contemplating suicide because she believes Tamino has abandoned her. The child-spirits restrain her and reassure her of Tamino's love. Two men in armor lead in Tamino. They recite one of the formal creeds of Isis and Osiris, promising enlightenment to those who successfully overcome the fear of death " Der, welcher wandert diese Strasse voll Beschwerden ". This recitation takes the musical form of a Baroque chorale prelude , to a tune inspired by Martin Luther 's hymn " Ach Gott, vom Himmel sieh darein " Oh God, look down from heaven.
Pamina calls to him from offstage. The men in armour assure him that the trial by silence is over and he is free to speak with her. Pamina enters and declares her intention to undergo the remaining trials with him. Protected by the music of the magic flute, they pass unscathed through chambers of fire and water. Offstage, the priests hail their triumph and invite the couple to enter the temple. They advise him to play his magic bells to summon Papagena. She appears and, united, the happy couple stutter in astonishment and make bird-like courting sounds at each other.
They plan their future and dream of the many children they will have together Duet: Scene change without interrupting the music, to Scene 9: A rocky landscape outside the temple; night. The traitorous Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the temple " Nur stille, stille " and the Queen confirms that she has promised her daughter Pamina to Monostatos.
But before the conspirators can enter the temple, they are magically cast out into eternal night. Sarastro announces the sun's triumph over the night, and hails the dawn of a new era of wisdom and brotherhood. The first recording of the Magic Flute Overture was issued around —, at the dawn of the recording era, by the Victor Recording Company and played by the Victor Grand Concert Band. The first studio recording of the work, with Sir Thomas Beecham conducting the Berlin Philharmonic , was completed in Both of these historic recordings have been reissued on modern recording media.
Since then there have been many recordings, in both audio and video formats. The opera has inspired a great number of sequels, adaptations, novels, films, and other works of art. For a listing, see Works inspired by The Magic Flute. From Wikipedia, the free encyclopedia. For other uses, see The Magic Flute disambiguation. The arrival of the Queen of the Night.
Stage set by Karl Friedrich Schinkel for an production. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. September Learn how and when to remove this template message. Libretto of The Magic Flute. Performed by Musopen Symphony Orchestra 6: The Magic Flute discography. The programme at the premiere performance announced it as " Eine grosse oper " A grand opera. Mozart entered the work in his personal catalog as a "German opera", and the first printed libretto called it a Singspiel.
Herr Mozart, out of respect for a gracious and honourable public, and from friendship for the author of this piece, will today direct the orchestra in person. According to English translation from Deutsch , — Distributed by Workman Pub. New attributions and perspectives1". The Authentic Magic Flute Libretto: Stanley Sadie , 4 vols. London and New York, , Volume 4, pp.