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Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 Minutes
Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 minutes The Latin title of tonight’s major work, translated literally as “Songs of Beuren,” comes from the Abby of Benediktbeuren where a book of poems was discovered in 1803. The Abbey is located about 30 miles south of Munich, where the composer Carl Orff was born, educated, and spent most of his life. The 13th century book contains roughly 200 secular poems that describe medieval times. The poems, written by wandering scholars and clerics known as Goliards, attack and satirize the hypocrisy of the Church while praising the self-indulgent virtues of love, food, and drink. Their language and form often parody liturgical phrases and conventions. Similarly, Orff often uses the styles and conventions of 13th century church music, most notably plainchant, to give an air of seriousness and reverence to the texts that their actual meaning could hardly demand. In addition to plainchant, however, the eclectic musical material relies upon all kinds of historical antecedents— from flamenco rhythms (no. 17, “Stetit puella”) to operatic arias (no. 21, “Intrutina”) to chorale texture (no. 24, “Ave formosissima”). The 24 poems that compose Carmina Burana are divided into three large sections— “Springtime,” “In the Tavern,” and “Court of Love” —plus a prologue and epilogue. The work begins with the chorus “Fortuna imperatrix mundi,” (“Fortune, Empress of the World”), which bemoans humankind’s helplessness in the face of the fickle wheel of fate. “Rising first, then declining, hateful life treats us badly, then with kindness, making sport of our desires.” After a brief morality tale, “Fortune plango vunera,” the “Springtime” section begins. -
Carl Orffs Hesperische Musik
MATTHIAS JOHANNES PERNERSTORFER / WIEN Carl Orffs hesperische Musik Carl Orffs ‚Antigonae‘ (1940–49) und ‚Oedi pus der Tyrann‘ (1951– 58) nach Sophokles in der Übersetzung von Friedrich Hölderlin sowie der aischyleische ‚Prometheus‘ (1963–67) in der Originalsprache gehören zu den bedeutendsten Beiträgen zur musikalischen Rezeption der Antike im 20. Jahrhundert. Ich folge Stefan Kunze im Gebrauch der Bezeichnung Tragödien-Bearbeitungen für die genannten Bühnenwerke, da „kein musi- kalisches Werk (Vertonung) auf der Grundlage eines Tragödientextes … das Ziel [ist] …, sondern die [interpretative, Anm. d. A.1 ] Darstellung der Tragödie mit musikalischen Mitteln“.2 Es handelt sich um eine Form des Musiktheaters ganz eigener Art – „gleich weit entfernt vom Sprechtheater herkömmlicher Prägung wie von der Oper und von der … Bühnenmusik“.3 Auch wenn der Musikhistoriker Werner Schubert vor einigen Jahren dia- gnostizierte: „Daß es [Orff] … nicht um eine Rekonstruktion antiker Aufführungspraxis ging, muß man heute nicht mehr eigens betonen“,4 so möchte ich anmerken, daß die Tragödien-Bearbeitungen Orffs von vielen Philologen wie Theaterwissenschaftlern, die die musikwissenschaftliche Diskussion nicht mitverfolgen, wohl noch immer – sei es zustimmend oder ablehnend – als Rekonstruktionsversuche rezipiert werden. Der Grund dafür liegt in der zum Teil euphorischen Reaktion von zeitgenössischen Philologen, durch die Orffs Werke den Stellenwert von authentischen Wie- dergaben der altgriechischen Tragödien erreichten. Jahrzehntelang widmete sich Carl Orff den Tragödien-Bearbeitungen, wobei nicht von einem Weg des Komponisten in die Geistes- oder Musik- welt der Antike gesprochen werden kann. DieAntike diente ihm in Form —————————— 1 Zum Interpretationscharakter dieser „Darstellung der Tragödie“ s.u. 2 Kunze 1998, 547. 3 Schubert 1998, 405. 4 Schubert 1998, 403. 122 Matthias Johannes Pernerstorfer ihrer Texte als Medium, das er im Sinne von Höl derlins Antikerezeption mit Blick auf eine abendländische Gegenwart – deshalb ‚hesperisch‘ – gestaltete. -
Lehigh University Choral Arts Lehigh University Music Department
Lehigh University Lehigh Preserve Performance Programs Music Spring 5-3-2002 Lehigh University Choral Arts Lehigh University Music Department Follow this and additional works at: http://preserve.lehigh.edu/cas-music-programs Part of the Music Performance Commons Recommended Citation Lehigh University Music Department, "Lehigh University Choral Arts" (2002). Performance Programs. 155. http://preserve.lehigh.edu/cas-music-programs/155 This Program is brought to you for free and open access by the Music at Lehigh Preserve. It has been accepted for inclusion in Performance Programs by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. BAKER HALL• ZOELLNERARTS CENTER . I I Lehigh Univer. ity Music Department 2001 - 2002 SEASON Welcome to Zoellner Arts Center! We hope you will take advantage of all the facilities, including Baker Hall, the Diamond and Black Box Theaters, as well as the Art Galleries and the Museum Shop. There are restrooms on every floor and concession stands in the two lobbies. For all ticket information, call (610) 7LU-ARTS (610-758-2787). To ensure the best experience for everyone, please: Bring no food or drink into any of the theaters Refrain from talking while music is being performed Refrain from applause between movements Do not use flash photography or recording devices Turn off all pagers and cellular phones Turn off alarms on wrist watches Do not smoke anywhere in the facilities MUSIC DEPARTMENT STAFF Professors - Paul Salemi, Steven Sametz, Nadine Sine (chair) -
Carmina Burana
The William Baker Choral Foundation in the Midwest Presents Carl Orff CARMINA BURANA The Summer Singers of Kansas City William O. Baker, Music Director & Conductor Christine Freeman, Associate Music Director Jamea J. Sale, WBCF Executive Associate Music Director Niccole Winney, Student Intern Steven McDonald & Robert Pherigo, Piano Mark Lowry, John Currey, Ray DeMarchi Steve Riley & Laura Lee Crandall, Percussion Sarah Tannehill Anderson, soprano David Adams, tenor Robert McNichols, baritone Sunday Afternoon, 19 August 2018 Grace & Holy Trinity Cathedral Kansas City, Missouri www.ChoralFoundation.org The 20th Anniversary Summer Singers of Kansas City William O. Baker, DMA Sharon Abner Barbara Gustin Ruth Ann Phares WBCF Founder & Music Director Elaine Adams Frederick Gustin *Brad Piroutek Jenny Aldrich +Natalie Hackler *Julie Piroutek Jamea J. Sale, MME Jean Ayers Jill Hall Melanie Ragan WBCF Executive Associate Music Director *Laura Baker Emerson Hartzler Jane Rockhold *Chris Barnard Kelli Jo Henderson Elizabeth Rowell Lynn Swanson, MME Carolyn Baruch Stephen Hodson Christopher Rupprecht Director, Institute for Healthy Singing *David Beckers Esther Huhn *Jamea Sale Music Director, Baroque Summer Institute Emily Behrmann Beverly Hunt +Shad Sanders *Jennifer Berroth Laura Jacob Charis Schneeberger Andrew Phillip Schmidt, MM Harvey Berwin *Jim Jandt Vicki Schultz Music Director, New South Festival Singers Madeline Boorigie *Jill Jarrett Caren Seaman Music Director-Elect, Summer Singers Atlanta Rebecca Boos *Gary Jarrett *Cindy Sheets Amy Thropp, MM Chris Bradt Susan Johannsen +Pratima Singh Music Director, Zimria Festivale Atlanta Debra Burnes Elaine Johnson Gary Smedile +Mary Burnett Rebecca Jordan Pam Smedile Christine M. Freeman, MME Cynthia Campbell Russell Joy +George Smith Associate Music Director/Senior Vocal Coach *William Cannon Julie Kaplan Linda Spears Becky Carle *Amanda Kimbrough Barton Stanley Scott C. -
Carmina Burana
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra kompozice, dirigování a operní režie Studijní obor Dirigování orchestru Carl Orff: Carmina Burana Diplomová práce Autor práce: MgA. Marek Prášil Vedoucí práce: prof. Mgr. Jan Zbavitel Oponent práce: doc. Mgr. Emil Skoták Brno 2017 Bibliografický záznam PRÁŠIL, Marek. Carl Orff: Carmina Burana [Carl Orff: Carmina Burana]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra kompozice, dirigování a operní režie, rok 2017, s.58 Vedoucí diplomové práce prof. Mgr. Jan Zbavitel. Anotace Diplomová práce „Carl Orff: Carmina Burana“, jak již ze samotného názvu vyplývá, pojednává o skladateli Carlu Orffovi a jeho nejslavnější skladbě, kantátě Carmina Burana. V první části shrnuje život skladatele, stručně charakterizuje jeho dílo a kompoziční styl. Druhá část, věnovaná samotné kantátě, je zaměřena především na srovnání několika verzí kantáty. Jedná se o původní originální symfonickou verzi, autorizovanou komorní verzi, a pak také o transkripci pro symfonický dechový orchestr. Annotation The thesis „Carl Orff: Carmina Burana” deals with composer Carl Orff and his most famous composition the cantata of Carmina Burana, as is already clear from the title itself. In the first part the composer's life is summarized and briefly his work and compositional style are characterized. The second part is dedicated to the cantata itself, it is focused on comparing several versions of the cantatas. There is one original symphonic version, the Authorized chamber version, and a transcription for symphonic band. Klíčová slova Carl Orff, Carmina Burana, kantáta, symfonický orchestr, dechový orchestr, komorní ansámbl Keywords Carl Orff, Carmina Burana, cantata, symphonic orchestra, wind band (concert band), chamber ensemble Poděkování Na tomto místě bych rád poděkoval především MgA. -
American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’S Avery Fisher Hall New York, N.Y
FOR IMMEDIATE RELEASE: American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’s Avery Fisher Hall New York, N.Y. – March 28, 2013 Outstanding music program Distinguished Concerts International New York City (DCINY) announced receives special invitation today that director Kathy Heedles and the American International School Choirs have been invited to participate in a performance of ‘Carmina Burana’ on the DCINY Concert Series in New York City. This performance at Lincoln Center’s Avery Fisher Hall is on March 10, 2014. These outstanding musicians will join with other choristers to form the Distinguished Concerts Singers International, a choir of distinction. Conductor Vance George will lead the performance and will serve as the clinician for the residency. Why the invitation was extended Dr. Jonathan Griffith, Artistic Director and Principal Conductor for DCINY states: “The American International School students and their director received this invitation because of the quality and high level of musicianship demonstrated by the singers on a previous performance of ‘O Fortuna’ from ‘Carmina Burana’. It is quite an honor just to be invited to perform in New York. These wonderful musicians not only represent a high quality of music and education, but they also become ambassadors for the entire community. This is an event of extreme pride for everybody and deserving of the community’s recognition and support.” The singers will spend 5 days and 4 nights in New York City in preparation for their concert. “The singers will spend approximately 9-10 hours in rehearsals over the 5 day residency.” says Griffith. -
Concert: Carmina Burana by Carl Orff Ithaca College Choral Union
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2005 Concert: Carmina Burana by Carl Orff Ithaca College Choral Union Ithaca College Symphony Orchestra Lawrence Doebler Jeffrey Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choral Union; Ithaca College Symphony Orchestra; Doebler, Lawrence; and Grogan, Jeffrey, "Concert: Carmina Burana by Carl Orff" (2005). All Concert & Recital Programs. 4790. https://digitalcommons.ithaca.edu/music_programs/4790 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CHORAL UNION ITHACA COLLEGE SYMPHONY ORCHESTRA Lawrence Doebler, conductor CARMINA BURANA by Carl Orff Randie Blooding, baritone Deborah Montgomery-Cove, soprano Carl Johengen, tenor Ithaca College Women's Chorale, Janet Galvan, conductor Ithaca College Chorus, Janet Galvan, conductor Ithaca College Choir, Lawrence Doebler, conductor Ithaca College Symphony Orchestra, Jeffrey Grogan, conductor Charis Dimaris and Read Gainsford, pianists Members of the Ithaca Children's Choir Community School of Music and Arts Janet Galvan, artistic director Verna Brummett, conductor Ford Hall Sunday, April 17, 2005 4:00 p.m. ITHACA THE OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber Ithaca College Symphony -
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
* BOSTON SYAfl PHONY m ORCHESTRA i i , V SEASON f '0* 3' Music Director lk Conductor j Emei {Music Director Lc I IP the Clarendon BACK BAY The Way to Live ;; III! in"! I II !! U nil * I v l iji HI I etc - I y=- • ^ Fi 2 '\ i ra % m 1 1 ih ... >'? & !W ||RBIK;| 4* i :: it n w* n- I II " n ||| IJH ? iu u. I 1?: iiir iu» !! i; !l! Hi \m SL • i= ! - I m, - ! | || L ' RENDERING BY NEOSCAPE INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOI CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DL/aLcomp/ REGISTERED W "HE U.S. GREEN BUILDING COUNl ITH ANTICIPATED LEED SILVER CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which a described. No Fede: subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or where prohibited. agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer being made. Void Table of Contents | Week 7 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM Notes on the Program 35 The Original Sound of the "Carmina burana" (c.1230) 41 Carl Orff's "Carmina burana" 53 To Read and Hear More.. -
Brecht's Antigone in Performance
PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
Reconsidering the Carmina Burana Gundela Bobeth (Translated by Henry Hope)1
4 | Wine, women, and song? Reconsidering the Carmina Burana gundela bobeth (translated by henry hope)1 Introduction: blending popular views and scientific approaches By choosing the catchy title Carmina Burana –‘songs from Benediktbeuern’–for his 1847 publication of all Latin and German poems from a thirteenth-century manuscript held at the Kurfürstliche Hof- und Staatsbibliothek Munich, a manuscript as exciting then as now, the librar- ian Johann Andreas Schmeller coined a term which, unto the present day, is generally held to denote secular music-making of the Middle Ages in paradigmatic manner.2 The Carmina Burana may be numbered among the few cornerstones of medieval music history which are known, at least by name, to a broader public beyond the realms of musicology and medieval history, and which have evolved into a ‘living cultural heritage of the present’.3 Held today at the Bayerische Staatsbibliothek under shelfmarks Clm 4660 and 4660a, and commonly known as the ‘Codex Buranus’, the manuscript – referred to in what follows as D-Mbs Clm 4660-4660a – constitutes the largest anthology of secular lyrics in medieval Latin and counts among the most frequently studied manuscripts of the Middle Ages.4 Yet the entity most commonly associated with the title Carmina Burana has only little to do with the musical transmission of this manu- script. Carl Orff’s eponymous cantata of 1937, which quickly became one of the most famous choral works of the twentieth century, generally tops the list of associations. Orff’s cantata relates to D-Mbs Clm 4660-4660a only in as much as it is based on a subjective selection of the texts edited by Schmeller; it does not claim to emulate the medieval melodies. -
Carmina Burana
Carmina Burana Featuring the Choir and Percussion Ensembles of the Department of Music at the Université de Moncton; Monique Richard, conductor; Indian River Festival Chorus; Kelsea McLean, conductor; Danika Lorèn, soprano; Jonathan MacArthur, tenor; Adam Harris, baritone; Peter Tiefenbach, piano; and Robert Kortgaard, piano Sunday, July 10, 7:30pm Fogarty’s Cover Stan Rogers, arr. by Ron Smail I Dreamed of Rain Jan Garrett, arr. by Larry Nickel Praise His Holy Name Keith Hampton Embarquement pour Cythere Francis Poulenc Catching Shadows Ivan Trevino Misa Criolla Ariel Ramirez INTERMISSION Carmina Burana Carl Orff Fortuna Imperatrix Mundi Fortune, Empress of the World 1. O Fortuna O Fortune 2. Fortune plango vulnera I lament the wounds that Fortune deals I. Primo vere In Spring 3. Veris leta facies The joyous face of Spring 4. Omnia Sol temperat All things are tempered by the Sun 5. Ecce gratum Behold the welcome Uf dem anger In the Meadow 6. Tanz Dance 7. Floret silva The forest flowers 8. Chramer, gip die varwe mir Monger, give me coloured paint 9. a) Reie Round dance b) Swaz hie gat umbe They who here go dancing around c) Chume, chum, geselle min Come, come, my dear companion d) Swaz hie gat umbe (reprise) They who here go dancing around 10. Were diu werlt alle min If the whole world were but mine II. In Taberna In the Tavern 11. Estuans interius Seething inside 12. Olim lacus colueram Once I swam in lakes 13. Ego sum abbas Cucaniensis I am the abbot of Cockaigne 14. In taberna quando sumus When we are in the tavern III.