Part II - Analysis

The piece begins in g minor with open octaves in the right had of the piano part. The triplet movement in the bass, along with the falling staccato quarter notes give the introduction a sense of urgency and conjure the image of the horse quickly cutting through the night. The tempo marking, schnell, directly translates to fast informing the performers of the sense of urgency. "The first bar of "Erlkonig" with its bare octaves sets the scene and stirs the mind: and although enjoyment of the song grows with acquaintance it is at first hearing that such an initial phrase rouses most interest, for the mind of the listener, even unconsciously, must be attempting to fix a tonality" (Porter 39-40). The chromatic passing and neighbor notes in measures 6 and 7 both symbolize the struggle between the Son and the Erlkonig and set up the cadential movement in measure 7.

The piece is written for voice and piano, with the vocalist singing four distinct "parts". Schubert kept in mind the four speakers of Goethe's poem in his composition. Each character has not only a unique inflection and vocal range, but also a distinctive key and repeated musical motifs associated with him."Four characters — narrator, father, son, and the Erlking — are all sung by one vocalist normally, but the work has been performed by four separate singers on occasion. Schubert has placed each character in largely a different vocal range and each has his own rhythmic nuances; in addition, most vocalists endeavor to use a different vocal color for each one.

The Narrator lies in the middle range and is in minor mode.
The Father lies in the low range and sings both in minor mode and major mode
The Son lies in a high range, also in minor mode, representing the fright of the child.
The Erlking's vocal line undulates up and down to arpeggiated accompaniment resulting in striking contrast and is in the major mode. The Erlking lines are typically sung pianissimo, portraying a sneaky persuasiveness". (wikipedia)

The Narrator is responsible for giving the background and helping to unfold the story. Schubert's use of g minor for the Narrator foreshadows the ominous happenings to come. Because the narrator of a story is often omniscient, the listener trusts the narrator to warn them about or hint at what is to come. The opening narration ends at m. 32 with the return of the original theme. 

At m. 36, the father enters with his familiar interval (P4) closes his line with upward chromatic motion to textually paint his inquiry of his son's grief. The interval of the P4 makes many returns when the father sings to calm and quiet the son.

The son responds to the father's question with a question of his own. He is frightened and asks his father if he too sees the Erlkonig. The marking (pp) in conjunction with the minor mode accentuates the fear of the child. The father returns in m. 51, this time, more firmly with the m3. With his dismissal of his son's fear, the Erlkonig makes his first entrance in m 57 ("Du liebes Kind...). 

The Erlkonig is playful and wily, conjuring the image of a stranger luring a child away with candy or a fancy toy. The sound is almost hypnotic. Unlike the other characters (for the most part) the Erlkonig sings in B flat major, as opposed to the ominous minor modes of the rest of the piece. The son outbursts again in m. 72, frantically calling for his father. Again the chromaticism and minor key accentuate his fright. The P4 returns as the father assures his son that it is just the wind he hears. Again, the Erlkonig returns with his tantalizing words, playful eighth note - eighth rest base line, and welcoming major key. He invites the boy to come play, dance, and sing. The son again cries out for help, using the same chromatic technique as the father to pose his question. Sure enough, the father replies with his P4 and resolutely ends ff. Very quietly, the Erlkonig makes his last attempt to steal away the child's being. The end of the Erlkonig's final effort culminates in a PAC in d minor, foreshadowing the son's impending doom. The son makes a final call for help and is cut off by a return to the main theme from the introduction of the piece. From here, the narrator takes over and concludes the story. It is in this conclusion that we find Schubert's unusual use of the Neapolitan Chord.