The Richmond palladium. (Richmond, Ind.) 1906-1907, 1906-10-21

waits for thee many bright bright
toys. many flowers shall we pluck for
my boy The alarm of the child is
here well represented by the voice
singing a fiat against the unison nat
urals in the accompaniment. 20 faith
er, my father, and did you not hear
the. Erlking whisper so close to my
carr" The words father, my father
should be strongly accented, the voice
being bright inquality and placed well
/ forward toward the teeth. The breath
should be forced from the top of the
chest.
Again the father quiets the boy: ''Be
quiet dearest child be at ease, tbs but
the wind among the trees" There is
no fear expressed in the fathers ut
terance. He merely offers the first
explanation that occurs to hts mipd
] He considers the whole affair an hal
Inclination of the boys frightened
brain. The siren song of the phan-
tom is again heard by the boy: 20
wilt thou go with me, my boy, my
daughter fair shall attend thee with
t joy, shall bear thee on thro' rain and
wild, and hug thee and kiss thee and
sing to thee, child" Now the voice
:
and be supported by a downward and
outward expansion of the abdomen,
thus giving expression to the voluptu-
Gus sensuousness of the temptation
But the child knows only one, senti-
iment-that of fear. The breath should
be taken audibly after the words
father in the sentence: 20 father.
my father and saw you not plain the
Erlking's daughter glide through the
rain?" The fathers answer this time
should not contain as much assur-
ance as formerly. He is beginning to
feet that the fright of the child may
not be caused entirely by an excited
imagination.
There is possibility that the dread
Erlking may have singled out his lit
tie son for the next victim. This can
be expressed in the voice by singing
the last half of the following passage
with a fiat, tense chest. o no, my boy
knew it full soon, it was the gray
willow under the moon. But the sud-
den creScendo in the accompaniment
discloses the additional anxiety of the
father to reach home quickly, before
any thing may happen. The closing
song of the Erlking is splendidly sup
ported in the accompaniment by it's
forced and violent harmonies. The
first sentence Il love thee, my boy
should be sung softly, alluringly but
becoming impatient at the continued
resistance of the child, the Erlking
adds ferociously Come say, or else
silly child. l will drag thee away
The accompaniment here begins for
eel int off
ing of the child by the dread phan-
tom, and in the same measure the
boy shrieks out his last appeal to his
father for aid.
This appeal should be sung hyster-
ically, with a very high, nervous chest.
20 father, my father, now, now keep
your hold; the Erlking has seized me,
his touch, it is cold" 'Sore trembled
the father, he spurs thro the wild
while close to his bosom he clasps
his dear child" The words He |
spurrs thro' the Wild" should be ia
ken with decided accelerando. The |
first part of the next passage He |
reaches his dwelling should not anti |
cipate the effect of the next two |
words, but should express a slight |
sense of relief at having finally ac-
complished that much of the journey
safely. But the two following words |
lin dread informs us that the story |
is not yet over. Then in a highly dra-
matte recitative should be sung: |
"clasped to his bosom, (pause) the
child, then after long and intense
silence the terrible last two words
should be whispered, very audibiy,-f
but not sung-"was dead