The Fairy Tale King
This composition is inspired by the dramatic life story of Ludwig II, the former King of Bavaria. He earned the nickname “the Fairy-Tale King” due to his eccentric lifestyle, his love for medieval legends, and his construction of extravagant fantasy castles, such as the world-famous Neuschwanstein Castle. Ludwig II grew up in a strict environment but found great solace in his friendships and his love for Wagner’s music and romantic fairy tales. His unexpected accession to the throne was followed by a cancelled marriage and a tragic end, after which he became a national icon of Bavaria.
The music reflects his life through fairy-tale-like and romantic, yet also martial and dramatic sounds, featuring two *Lohengrin* themes as a recurring tribute to his tragic story.
More about The Fairy Tale King
Bars 1–12: A fairy-tale-like introduction. Ludwig II loved fairy tales, which is why he was known as the Fairy-Tale King.
Bars 13–27: The Kingdom of Bavaria grandly announces the prince’s birth.
Bars 28–35: The march music surrounding the castle sounds festive and majestic.
Bars 36–43: Yet the music also conveys the sensitive romanticism that the prince would later come to cherish so deeply.
Bars 44–51: Melodic and grand in sound.
Bars 52–64: Then, the sounds of fairy tales return in more tranquil music.
Bars 65–73: A theme from Richard Wagner’s opera *Lohengrin* is heard. In this opera, the Crown Prince saw his romantic dreams of noble chivalry come to life. The swan became Ludwig’s trademark.
Bars 74–90: His very strict upbringing was entrusted to tutors, while he rarely saw his parents. Consequently, he did not develop a strong bond with them.
Bars 91–108: The friendships the Crown Prince maintained meant a great deal to him. He was friends with Prince Paul Maximilian Lamoral von Thurn und Taxis, with whom he shared a love for Wagner’s operas, as well as with his cousin Elisabeth (Sisi)—Duchess in Bavaria and later Empress of Austria. They called each other the Eagle (Ludwig) and the Seagull (Elisabeth).
Bars 109–120: Ludwig ascended the throne at the age of eighteen following his father’s sudden death. The ceremonial music is inspired by the *Lohengrin* theme.
Bars 121–140: Here, we hear the *Lohengrin* theme in the form of a cheerful dance, heralding the impending marriage of King Ludwig to his cousin Sophie—Elisabeth’s younger sister. As the music progresses, the dance takes on an increasingly ominous tone, ultimately leading to tragedy.
Bars 141–147: We hear the motif from the *Bridal Chorus* in *Lohengrin*, though it sounds tragic here because Ludwig called off his marriage to Sophie. He would ultimately never marry. Many historians worldwide believe Ludwig was homosexual.
Bars 148–155: Then the *Lohengrin* theme sounds in a minor key, reflecting the sorrow surrounding the mysterious circumstances of the deposed king’s death. Bars 156–167: We look back once more at the life of Ludwig II. We hear Romanticism and drama converge.
Bars 168–176: The king remains a source of national pride for Bavaria; his magnificent tomb in St. Michael’s Church in Munich is a place of pilgrimage. The Lohengrin theme now resounds as a tribute to his tragic life.
Bars 181–186: The final bars sound majestic, with a touch of drama, yet conclude on a positive note in a major key.