Carmina Burana Carl Orff (1895-1982)

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1 Carl Orff (1895-1982) - Carmina Burana

The Munich-born Carl Orff first gained prominence not as a composer, but as an educationalist, publishing (in the early Thirties) theories about encouraging musicianship in people through movement and musical improvisation (was this the radical stuff responsible for my suffering, at junior school in the Fifties, the squirming embarrassment of Music and Movement?). Having discarded his earliest attempts at composition, his only forays of any importance into composition preceding Carmina Burana were his realisations of the music of Monteverdi. These were, apparently, occasionally very liberal, so it would be interesting to hear them, to see if they give any inkling of a creative preparation for the unprecedented (and, as yet, unrivalled) Carmina Burana, to all intents and purposes his first significant original composition.

Both title and texts were taken from a Thirteenth Century manuscript discovered in the monastery of Benediktbeuern (southern Bavaria) by Schmeller, who published it in 1847. A mixture of ancient German and crude “dog” Latin, it in no way corresponds to what you would expect monks to be writing, except perhaps on their toilet walls. The texts, every bit as much as the musical settings Orff provided, have made the cantata controversial from day one. People either love it or hate it - Carmina Burana is one of those very few pieces admitting no middle ground. Some detest it because of the texts, often crude, rude, lewd, and blasphemous, qualities which shine through even the sanitised translations given in concert programmes or record sleeve notes. Taking one obvious example, the words “wafna, wafna” on one old LP were translated somewhat imaginatively and with self-evident inaccuracy as, “Woe is me, hell and devil”. The famous LSO/Previn recording does not even attempt a translation, which is probably just as well! Having said that, the texts have a primitive graphic power, capable of punching right through the veil of translation: like them or not, phrases such as “We drink the health of wanton girls” carry considerable “poetic” impact. The same is true of the sheer sound of certain other phrases. Who can fail to react, in any way whatsoever, to the words “animo vernali lasciviens”? Just roll them round your tongue - you'll get my drift! The texts are given voice by three soloists, a large mixed chorus, and a choir of boys (or children) which heightens the feeling of naivity (I hesitate to say “innocence”!).

But, what of the music, a sound so particular that even Orff was unable to replicate its impact in subsequent works like Catulli Carmina? Bartlett (Grove, 5th. ed.) describes it:

“The simplicity and cunning of the music is most impressive. Orff deliberately discards counterpoint, thematic development and the use of elaborate forms; the vocal parts are written in unison, octaves, thirds, and sometimes fifths, the tunes are concise and of popular character and are repeated without variation, sometimes merely transposed into other keys. His writing is tonal in principle and there is an occasional sprinkling of clashing harmonies. The swinging, vigorous rhythm plays a dominating part in the whole work”.

This may be an admirable summing up, but it says nothing about the phenomenal impact of this music. Recall the sort of music provided for those old “swords and sandals” films, adventures in ancient Greece enacted to the strains of an all too Twentieth Century symphony orchestra trying to sound “authentic”. Orff similarly wanted to reflect ancient texts in music which breathed the same air, but without sacrificing the expressive power of the modern orchestra. So he set about stripping away the sophistication which had accreted on music and its instruments over the ages; like the boys in Lord of the Flies, the modern orchestra is regressed to a

2 primitive state. Listen to some really old instrumental dancing music in an “authentic” performance: what's missing? Counterpoint. Thematic development. Elaborate forms. Fancy harmonies (go back far enough, and the only intervals were unison, octaves, thirds, fifths). What's there? Simple tunes, robust rhythms. Almost anyone using a big orchestra for music of such pervasive simplicity is going to come up with a fresh, open sound like Orff's, so what makes his so incredibly invigorating? The ancients loved their percussion, which are after all the most primitive instruments. Orff duly conscripted a huge battery of percussion, and applied it lavishly (he wanted proper bells - which sound truly awesome - but cost, space, and integrity of floorboards usually permit only tubular chimes). The result? A hard-edged sound seductive to our primitive instincts. Even so, this would have been useless without Orff's inspired sense of rhythm. We are drawn (momentarily) to compare Carmina Burana with that other seminal masterpiece of musical primitivism, The Rite of Spring. Stravinsky achieved his effect by the wholesale sophistication of harmony, rhythm and instrumentation, while Orff achieved his by the exact opposite, wholesale simplification. He was promptly accused of crudity. I can live with that: like many, I love it for the exact same reasons cited by those who despise it, plus a certain nostalgia for a time when the world seemed a simpler place.

Simplicity dominates even the work's overall structure. Orff lays out his 25 numbers in three sections (tableaux might be a better word), prefaced by an “overture”, the first of whose two numbers is literally repeated at the end. These “movements” are distinguished mainly by the textual subject matter:

Fortuna Imperatrix Mundi (Fortune, Ruler of the World) portrays Man as the helpless slave of Lady Luck who dispassionately and whimsically dispenses success and failure. As the Wheel of Fortune revolves, so the fortunes of helpless mortals wax and wane. The machinations of Fortune suffuse the remainder of the work . . .

1. Primo Vere (In the Springtime) celebrates Spring, the rebirth of Life, and the re-awakening of Love. The first three of the eight numbers venerate the seasonal renewal of nature, separated by the fourth (an orchestral intermezzo) from a sub- section Uf dem Anger (On the Green) in which more specifically human passions germinate.

2. In Taberna (In the Tavern), contrasting this open-air innocence of pastoral humanity, concerns the sinful dregs who shun the light of day, the embittered “losers” at Fortune's wheel who waste their lives drinking, eating, gambling, and - so on! The four numbers air several viewpoints, including the somewhat jaundiced one of a spit-roasted swan, painfully and comically squawked by the tenor soloist.

3. Cour d'Amours (Courtly Love) returns to the Great Outdoors, where the Spring Buds, both vegetable and animal, have blossomed. The eleven numbers compare the ultimate joy of catching a mate with the equally ultimate despair of failing to catch a mate. The second number, Dies, Nox et Omnia, is a tour-de-force for the baritone who has to span three vocal registers, while the soprano's mettle is tested in the brief but telling Dulcissime. The return of Fortuna, Imperatrix Mundi as the “postlude” is stunning, both for its sonic impact and for the sudden, shocking resurgence of pessimism right at the climax of consummation of courtly love!

The manuscript

The title "Carmina Burana" literally means 'songs of Beuren' and was given by Johann Andreas Schmeller to his complete edition (1847) of over 1000 poems contained in an early 13th-century German manuscript (found in 1803) from the Benedictine abbey of Benediktbeuern, south of Munich in the Bavarian region.

The poems include the freshness of medieval love lyrics, exuberance of the drinking song, the zest of the sinner's 'confessions', the wild humour of the hymns to gambling and gluttony, the stoic litany to Lady Luck ('Fortuna Imperatrix Mundi') which Orff chose to open and close his score. Sex is also a dominant theme in many of the songs.

The pieces are mostly in Latin - though not in Classical Latin meter - with a few in a dialect of Middle High German (Numbers 8,9 and 10), and some snatches of Old French. Many simply are a mixture of Latin and German or French vernacular (common language) of the time. They were written by students and clergy about 1230. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who lampooned and satirized the Church.

Who were these richly gifted poets who called themselves 'goliards'? Goliards were defrocked monks and minstrels. Traditionally they have been identified as 'vagantes' (vagrant students, vagabond monks and minor clerics), said to have been 'better known for their rioting, gambling and intemperance than for their scholarship'. Yet whatever their social status, their artistic and technical skill seem to place them among the clerical and academic elite of the age.

Music from Carmina Burana has been used in these movies: The Doors (1991); Excalibur (1981); Natural Born Killers (1994); South Park: Bigger, Longer, Uncut ; Cheaper by the Dozen (2003); More Than Famous (2002); Jackass: The Movie (2002); Shylock (1999); The General's Daughter (1999); Speeches of Robert F. Kennedy (1995); the Bachelor; Detroit Rock City; Excalibur; Glory; as well as many TV show and commercials.

4 Carmina Burana Carl Orff (1895-1982)

• Fortuna Imperatrix Mundi (Fortune, Empress of the World) o 1. O Fortuna o 2. Fortune plango vulnera • I. Primo vere (In Springtime) o 3. Veris leta facies (No strings and only a small chorus) o 4. Omnia sol temperat o 5. Ecce gratum • Uf dem anger (On the Lawn) o 6. Tanz o 7. Floret silva nobilis (Small and large choruses) o 8. Chramer, gip die varwe mir (Small and large choruses) [German] o 9. Reie [German] o 10. Were diu werlt alle min [German] • II. In Taberna (In the Tavern) o 11. Estuans interius o 12. Olim lacus colueram (No violins used) o 13. Ego sum abbas (Only percussion and brass with chorus) o 14. In taberna quando sumus • III. Cour d'amours (The Court of Love) o 15. Amor volat undique (Boys chorus with soprano) o 16. Dies, nox et omnia o 17. Stetit puella o 18. Circa mea pectora o 19. Si puer cum puellula o 20. Veni, veni, venias (Double chorus with 2 pianos & 6 percussionists) o 21. In truitina o 22. Tempus est iocundum (2 pianos, percussion and all vocalists except tenor) o 23. Dulcissime • Blanziflor et Helena (Blanziflor and Helena) o 24. Ave formosissima (Three glockenspiels with independent parts) • Fortuna Imperatrix Mundi (Fortune, Empress of the World) o 25. O Fortuna (Fortune, Empress of the World)

Orchestration: Carmina Burana is scored for the following large orchestra, choir and soloists:

Woodwinds 3 Flutes (2nd and 3rd doubling Piccolos) 3 Oboes (3rd doubling English horn) 3 Clarinets in B-flat and A (2nd doubling E-flat Clarinet, 3rd doubling Bass clarinet) 2 Bassoons Contrabassoon

Brass 4 Horns in F 3 Trumpets in B-flat and C 3 Trombones Tuba

Percussion Timpani (1 player, 5 drums including a Piccolo Timpani) 2 Snare drums Bass drum Triangle Several cymbals (crash, suspended and antique) Ratchet Castanets Tambourine Sleigh bells Tam-Tam Tubular bells 3 Bells 3 Glockenspiels Xylophone

Voices SATB mixed choir (all divisi) Boys' choir Soprano solo Tenor solo Baritone solo

Keyboards 2 Pianos Celesta

Strings Violins I, II Violas Violoncellos Double basses

Selected translations—complete list of translations can be found at: http://www.classical.net/music/comp.lst/works/orff-cb/carmlyr.php

I. Fortuna Imperatrix Mundi (Fortune, Empress of the World)

1. O Fortuna (Chorus) O Fortune

O Fortuna O Fortune, velut luna like the moon statu variabilis, you are changeable, semper crescis ever waxing aut decrescis; and waning; vita detestabilis hateful life nunc obdurat first oppresses et tunc curat and then soothes ludo mentis aciem, as fancy takes it; egestatem, poverty potestatem and power dissolvit ut glaciem. it melts them like ice.

Sors immanis Fate - monstrous et inanis, and empty, rota tu volubilis, you whirling wheel, status malus, you are malevolent, vana salus well-being is vain semper dissolubilis, and always fades to nothing, obumbrata shadowed et velata and veiled michi quoque niteris; you plague me too; nunc per ludum now through the game dorsum nudum I bring my bare back fero tui sceleris. to your villainy.

Sors salutis Fate is against me et virtutis in health michi nunc contraria, and virtue, est affectus driven on et defectus and weighted down, semper in angaria. always enslaved. Hac in hora So at this hour sine mora without delay corde pulsum tangite; pluck the vibrating strings; quod per sortem since Fate sternit fortem, strikes down the string man, mecum omnes plangite! everyone weep with me!

2. Fortune plango vulnera (I bemoan the wounds of Fortune)

Fortune plango vulnera I bemoan the wounds of Fortune stillantibus ocellis with weeping eyes, quod sua michi munera for the gifts she made me subtrahit rebellis. she perversely takes away.

7 Verum est, quod legitur, It is written in truth, fronte capillata, that she has a fine head of hair, sed plerumque sequitur but, when it comes to seizing an opportunity Occasio calvata. she is bald.

In Fortune solio On Fortune's throne sederam elatus, I used to sit raised up, prosperitatis vario crowned with flore coronatus; the many-coloured flowers of prosperity; quicquid enim florui though I may have flourished felix et beatus, happy and blessed, nunc a summo corrui now I fall from the peak gloria privatus. deprived of glory.

Fortune rota volvitur: The wheel of Fortune turns; descendo minoratus; I go down, demeaned; alter in altum tollitur; another is raised up; nimis exaltatus far too high up rex sedet in vertice sits the king at the summit - caveat ruinam! let him fear ruin! nam sub axe legimus for under the axis is written Hecubam reginam. Queen Hecuba.

II. Primo Vere (The First Spring)

3 Veris leta facies (The merry face of spring)

Veris leta facies The merry face of spring mundo propinatur, turns to the world, hiemalis acies sharp winter victa iam fugatur, now flees, vanquished; in vestitu vario bedecked in various colours Flora principatur, Flora reigns, nemorum dulcisono the harmony of the woods que cantu celebratur. praises her in song. Ah!

Flore fusus gremio Lying in Flora's lap Phebus novo more Phoebus once more risum dat, hac vario smiles, now covered iam stipate flore. in many-coloured flowers, Zephyrus nectareo Zephyr breathes nectar- spirans it odore. scented breezes. Certatim pro bravio Let us rush to compete curramus in amore. for love's prize. Ah!

Cytharizat cantico In harp-like tones sings dulcis Philomena, the sweet nightingale, flore rident vario with many flowers prata iam serena, the joyous meadows are laughing, salit cetus avium a flock of birds rises up silve per amena, through the pleasant forests, chorus promit virginum the chorus of maidens iam gaudia millena. already promises a thousand joys. Ah!

8 5 Ecce gratum (Chorus) (Behold, the pleasant spring)

Ecce gratum Behold, the pleasant et optatum and longed-for Ver reducit gaudia, spring brings back joyfulness, purpuratum violet flowers floret pratum, fill the meadows, sol serenat omnia. the sun brightens everything, Iamiam cedant tristia! sadness is now at an end! Estas redit, Summer returns, nunc recedit now withdraw hyemis sevitia. the rigours of winter. Ah!

Iam liquescit Now melts et decrescit and disappears grando, nix et cetera; ice, snow and the rest, bruma fugit, winter flees, et iam sugit and now spring sucks at summer's breast: ver estatis ubera; a wretched soul is he illi mens est misera, who does not live qui nec vivit, or lust nec lascivit under summer's rule. Ah! sub estatis dextera.

Gloriantur They glory et letantur and rejoice in melle dulcedinis, in honeyed sweetness qui conantur, who strive ut utantur to make use of premio Cupidinis: Cupid's prize; simus jussu Cypridis at Venus' command gloriantes let us glory et letantes and rejoice pares esse Paridis. in being Paris' equals. Ah!

III. Uf dem anger (On the meadow)

8. Chramer, gip die varwe mir (Shopkeeper, give me colour)

Chramer, gip die varwe mir, Shopkeeper, give me colour die min wengel roete, to make my cheeks red, damit ich die jungen man so that I can make the young men an ir dank der minnenliebe noete. love me, against their will. Seht mich an, Look at me, jungen man! young men! lat mich iu gevallen! Let me please you!

Minnet, tugentliche man, Good men, love minnecliche frouwen! women worthy of love! minne tuot iu hoch gemout Love ennobles your spirit unde lat iuch in hohen eren schouwen and gives you honour. Seht mich an Look at me, jungen man! young men! lat mich iu gevallen! Let me please you!

9 Wol dir, werit, daz du bist Hail, world, also freudenriche! so rich in joys! ich will dir sin undertan I will be obedient to you durch din liebe immer sicherliche. because of the pleasures you afford. Seht mich an, Look at me, jungen man! young men! jat mich iu gevallen! Let me please you!

9. Reie (Round dance)

9a. Swaz hie gat umbe

Swaz hie gat umbe, Those who go round and round daz sint alles megede, are all maidens, die wellent an man they want to do without a man allen disen sumer gan! all summer long. Ah! Sla!

9b. Chume, chum, geselle min

Chume, chum, geselle min, Come, come, my love, ih enbite harte din, I long for you, ih enbite harte din, I long for you, chume, chum, geselle min. come, come, my love.

Suzer rosenvarwer munt, Sweet rose-red lips, chum unde mache mich gesunt come and make me better, chum unde mache mich gesunt, come and make me better, suzer rosenvarwer munt sweet rose-red lips.

9c. Swaz hie gat umbe

Swaz hie gat umbe, Those who go round and round daz sint alles megede, are all maidens, die wellent an man they want to do without a man allen disen sumer gan! all summer long. Ah! Sla!

12. Olim lacus colueram: Cignus ustus cantat (The Roast Swan)

Olim lacus colueram, Once I had dwelt on lakes, olim pulcher exstiteram, once I had been beautiful, dum cygnus ego fueram. when I was a swan. Miser, miser! Poor wretch! modo niger Now black et ustus fortiter! and well roasted!

Girat, regirat garcifer; The cook turns me back and forth me rogus urit fortiter; I am roasted to a turn on my pyre; propinat me nunc dapifer. Now the waiter serves me. Miser, miser! Poor wretch! modo niger Now black et ustus fortiter! and well roasted!

Nunc in scutella iaceo, Now I lie on the dish, et volitare nequeo; and I cannot fly; dentes frendentes video. I see the gnashing teeth. Miser, miser! Poor wretch!

10 modo niger Now black et ustus fortiter! and well roasted!

IV: IN TABERNA (IN THE TAVERN)

14. In taberna quando sumus (When we are in the tavern)

In taberna quando sumus When we are in the tavern, non curamus quid sit humus, we do not think how we will go to dust, sed ad ludum properamus, but we hurry to gamble, cui semper insudamus. which always makes us sweat. Quid agatur in taberna What happens in the tavern, ubi nummus est pincerna, where money is host, hoc est opus ut queratur, you may well ask, si quid loquar, audiatur. and hear what I say.

Quidam ludunt, quidam bibunt, Some gamble, some drink, quidam indiscrete vivunt. some behave loosely. Sed in ludo qui morantur, But of those who gamble, ex his quidam denudantur some are stripped bare, quidam ibi vestiuntur, some win their clothes here, quidam saccis induuntur. some are dressed in sacks. Ibi nullus timet mortem Here no-one fears death, sed pro Baccho mittunt sortem: but they throw the dice in the name of Bacchus.

Primo pro nummata vini, First of all it is to the wine- merchant ex hac bibunt libertini; the libertines drink, semel bibunt pro captivis, one for the prisoners, post hec bibunt ter pro vivis, three for the living, quater pro Christianis cunctis four for all Christians, quinquies pro fidelibus defunctis, five for the faithful dead, sexies pro sororibus vanis, six for the loose sisters, septies pro militibus silvanis. seven for the footpads in the wood,

Octies pro fratribus perversis, Eight for the errant brethren, nonies pro monachis dispersis, nine for the dispersed monks, decies pro navigantibus ten for the seamen, undecies pro discordaniibus, eleven for the squabblers, duodecies pro penitentibus, twelve for the penitent, tredecies pro iter agentibus. thirteen for the wayfarers. Tam pro papa quam pro rege To the Pope as to the king bibunt omnes sine lege. they all drink without restraint.

Bibit hera, bibit herus, The mistress drinks, the master drinks, bibit miles, bibit clerus, the soldier drinks, the priest drinks, bibit ille, bibit illa, the man drinks, the woman drinks, bibit servus cum ancilla, the servant drinks with the maid, bibit velox, bibit piger, the swift man drinks, the lazy man drinks, bibit albus, bibit niger, the white man drinks, the black man drinks, bibit constans, bibit vagus, the settled man drinks, the wanderer drinks, bibit rudis, bibit magnus. the stupid man drinks, the wise man drinks, Bibit pauper et egrotus, The poor man drinks, the sick man

11 drinks, bibit exul et ignotus, the exile drinks, and the stranger, bibit puer, bibit canus, the boy drinks, the old man drinks, bibit presul et decanus, the bishop drinks, and the deacon, bibit soror, bibit frater, the sister drinks, the brother drinks, bibit anus, bibit mater, the old lady drinks, the mother drinks, bibit ista, bibit ille, this man drinks, that man drinks, bibunt centum, bibunt mille. a hundred drink, a thousand drink.

Parum sexcente nummate Six hundred pennies would hardly durant, cum immoderate suffice, if everyone bibunt omnes sine meta. drinks immoderately and immeasurably. Quamvis bibant mente leta, However much they cheerfully drink sic nos rodunt omnes gentes we are the ones whom everyone scolds, et sic erimus egentes. and thus we are destitute. Qui nos rodunt confundantur May those who slander us be cursed et cum iustis non scribantur. and may their names not be written in the book of the righteous.

V. Cour d’Amores (The Court of Love)

18. Circa mea pectora (In my heart)

Circa mea pectora In my heart multa sunt suspiria there are many sighs de tua pulchritudine, for your beauty, que me ledunt misere. which wound me sorely. Ah!

Manda liet, Mandaliet, Manda liet mandaliet, min geselle my lover chumet niet. does not come.

Tui lucent oculi Your eyes shine sicut solis radii, like the rays of the sun, sicut splendor fulguris like the flashing of lightening lucem donat tenebris. which brightens the darkness. Ah!

Manda liet Mandaliet, Manda liet, mandaliet, min geselle my lover chumet niet. does not come.

Vellet deus, vallent dei May God grant, may the gods grant quod mente proposui: what I have in mind: ut eius virginea that I may loose reserassem vincula. the chains of her virginity. Ah!

Manda liet, Mandaliet, Manda liet, mandaliet, min geselle my lover chumet niet. does not come.

12 19. Si puer cum puellula (If a boy with a girl)

Si puer cum puellula If a boy with a girl moraretur in cellula, tarries in a little room, felix coniunctio. happy is their coupling. Amore suscrescente Love rises up, pariter e medio and between them avulso procul tedio, prudery is driven away, fit ludus ineffabilis an ineffable game begins membris, lacertis, labiis in their limbs, arms and lips.

20. Veni, veni, venias (Chorus) Veni, veni, venias, Come, come, O come, ne me mori facias, do not let me die, hyrca, hyrce, nazaza, hycra, hycre, nazaza, trillirivos... trillirivos!

Pulchra tibi facies Beautiful is your face, oculorum acies, the gleam of your eye, capillorum series, your braided hair, o quam clara species! what a glorious creature!

Rosa rubicundior, redder than the rose, lilio candidior whiter than the lily, omnibus formosior, lovelier than all others, semper in te glorior! I shall always glory in you!

22. Tempus es iocundum (This is the joyful time)

Tempus es iocundum, This is the joyful time, o virgines, O maidens, modo congaudete rejoice with them, vos iuvenes. young men!

Oh, oh, oh, Oh! Oh! Oh! totus floreo, I am bursting out all over! iam amore virginali I am burning all over with first love! totus ardeo, New, new love is what I am dying of! novus, novus amor est, quo pereo.

Mea me confortat I am heartened promissio, by my promise, mea me deportat negatio I am downcast by my refusal

Oh, oh, oh Oh! Oh! Oh! totus floreo I am bursting out all over! iam amore virginali I am burning all over with first love! totus ardeo, New, new love is what I am dying of! novus, novus amor est, quo pereo.

13 Tempore brumali In the winter vir patiens, man is patient, animo vernali the breath of spring lasciviens. makes him lust.

Mea mecum ludit My virginity virginitas, makes me frisky, mea me detrudit my simplicity simplicitas. holds me back.

Veni, domicella, Come, my mistress, cum gaudio, with joy, veni, veni, pulchra, come, come, my pretty, iam pereo. I am dying!

23. Dulcissime (Sweetest one)

Dulcissime, Sweetest one! Ah! totam tibi subdo me! I give myself to you totally!

VI. Blanziflor Et Helena

24. Ave formosissima (Hail, most beautiful one)

Ave formosissima, Hail, most beautiful one, gemma pretiosa, precious jewel, ave decus virginum, Hail, pride among virgins, virgo gloriosa, glorious virgin, ave mundi luminar, Hail. light of the world, ave mundi rosa, Hail, rose of the world, Blanziflor et Helena, Blanchefleur and Helen, Venus generosa! noble Venus!

Fortuna Imperatrix Mundi

25. O Fortuna (Chorus) O Fortune

Lyrics published with the permission of: 14 © Schott Musik International, Mainz, Germany. THE EVENING POST, 30 APR 2001, Edition 3, Page 15.

Rare musical treat worthy of its bravo

By: TAYLOR Lindis

What: The Beethoven String Quartet There was nothing technically wrong with its cycle, No 2, played by the New first movement, but the work did not catch Zealand String Quartet: Op 18 alight until the rapturous playing of the Adagio, No 1; Op 74; Op 59 No 2, where Gillian Ansell's viola contributions presented by Chamber Music seemed especially generous. New Zealand Beethoven's adagios often make less impact Where: Ilott Concert Chamber, yesterday in a recording than in live performance, and that was certainly the case here, and in both Reviewed by: Lindis Taylor the other works on the programme.

The second of the series of six concerts In the Harp Quartet (Op 74), there was a rapt devoted to all of Beethoven's 16 quartets, tension right from the odd, meandering plus the spare movement known as the opening phrase, then pulsing with nervous Great Fugue, showed the New Zealand semi-quavers, through its heartfelt adagio String Quartet settling in to their task with a with its dark energy, to the many-coloured flair and energy that was very infectious. variations of the last movement.

Infectious partly on account of the pithy and The second half was again given to the illuminating introduction from Helene Pohl, Razumovsky set (Op 59) - No 2 - another which drew our attention to particular work of tension and restlessness. The players features of the three quartets we were to also drew from it a certain tragic feeling. hear. Here again was one of Beethoven's beautiful, The audience was so responsive both to her extended (about 14 minutes) adagios which words and to the super-charged the players spun out with a sustained performance that followed, particularly of rapturous tension that spoke of their total the finale of the F major quartet of Op 18, immersion in its complexities. that bravos greeted its finish. Make no mistake: You would not hear - apart Well, one bravo and very warm applause. from two or three truly great ensembles on a There is still a somewhat repressed air very good day - better, more passionate and about chamber music concerts. No one else persuasive performances of these great works in this full house echoed the bravos or anywhere in the world. joined the two brave people who stood to acknowledge what was indeed an We are in the midst of a rare musical treat. impassioned and electrifying performance. Oh for a more expressive audience like the kids at last year's Choral Festival that I Section: FEATURES Sub-Section: ARTS heard on Concert FM after I got home last Column: Theatre Review night. Topics: ORCHESTRAS ; MUSIC FESTIVALS AND CONCERTS Sub-Topics: The F major quartet was the second one Beethoven composed.

15 THE NELSON MAIL, 10 MAY 2004, Edition 2, Page 2.

Choir provides a good night out

Seriously Fun, Nelson Civic Choir, Saturday. Reviewed by David Turnhout.

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Take 63 singers and dress them in white shirts, black skirts and black trousers, add some bow ties for the blokes and not only have you got a sea of black and white but a serious sounding choir, or, to be more specific, a seriously fun choir.

The Nelson Civic Choir was in fine voice on Saturday as the Nelson School of music resonated with a range of musical pieces that were both thoughtful and amusing.

It was tale of two halves as the night progressed.

The first half was the serious one with the majority of pieces originating from the nineteenth century.

The choir performed some pieces penned by Edward Elgar, Edvard Grieg, Anton Bruckner as well as others.

The control of the choir was superb as it created a sound that at times seemed to rise to fill every corner of the venue and then faded to a serene echo.

Two highlights of the first half came from Simon Tannock and Anne Kilday.

Simon performed a couple of pieces written by George Gershwin. His bassy voice and stage presence charmed the audience. The other highlight came from an instrumental on the organ by Anne.

I have never seen an organ instrumental before and didn't know it could be played with such vigour and virtuosity.

The second half of show rolled on and there were a few more in this lineup that I recognised. Ever been to a music concert where you haven't been sure when to clap just in case the group starts up again and brings unwanted attention? That happened to me on several occasions during the first half.

There were many memorable parts from this half but it was two solos from 11- year-old Irish born Kirsty de Paor that really stood out. Kirsty sang Somewhere over the Rainbow and Candle on the Water.

I was in awe of how her powerful voice and exquisite tone conveyed the emotional content of these songs to the audience.

The choir sang a rousing medley of Chess songs and a swinging rendition of Puttin on the Ritz.

16 Ken Holmes and David Featherstone, complete with classical guitar and Spanish hats, performed The Spaniard that Blighted my Life which brought out many a chuckle from those watching.

A diverse range of musical items and quality performances from the choir and soloists made it a captivating night for all musical tastes. Overall a fun night out, seriously!

Further resources:

Listen the full work at school through itunes:

1. Open itunes on any school computer 2. Look for “Chris.Burcin’s Library” on the left and click on it 3. The password is “musicislife” 4. Enter “Carmina Burana” in the search box (top right)

Visit your blog to find further resources and to comment on discussions about Carmina Burana:

http://waimeaseniormusic.wordpress.com/