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Home , Chandos Records, Ecce gratum, Laura Claycomb, Peter Raabe

SUPER AUDIO CD live recording

Laura Claycomb soprano Barry Banks tenor London Symphony Chorus baritone London Symphony Orchestra CHSA 5067 Carl Orff (1895 –1982)

live recording Carmina burana (1936) Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis Fortuna Imperatrix Mundi 5:16 1 1 . Pesante – [ ] – 2:36 © Lebrecht Music & Arts Photo Library 2 2 Fortune plango vulnera. [ ] – Più mosso 2:40 I. Primo vere 23:01 3 3 Veris leta facies. [ ] – Poco più lento, tranquillo – A tempo, come prima – 3:54 4 4 Omnia Sol temperat. [ ] – Sempre molto rubato – 2 :11 5 5 Ecce gratum. Con ampiezza – Quasi allegretto – Allegro molto – Ancora più presto di prima – Presto 2:43 Uf dem anger 6 6 Tanz. Pesante – Allegro – Un poco più lento – Più mosso – 1:44 7 7 Floret silva. [ ] – Poco più mosso – [ ] – Poco più mosso – 3:18 8 8 Chramer, gip die varwe mir. Quasi andante – 3:23 9 9 Reie. Andante poco esitante – Più andante – Swaz hie gat umbe. Allegro molto – Chume, chum, geselle min. [ ] – Swaz hie gat umbe. A tempo come prima – 4:51 10 10 Were diu werlt alle min. Allegro molto 0:53 Carl Orff, 1936 3 22 22 Tempus est iocundum. Allegro molto – Più lento – II. In Taberna 10:38 Allegro molto – Come prima – 11 11 Estuans interius. Allegro molto – 2:28 Allegro molto – Ancora più lento di prima – 2:22 12 12 Olim lacus colueram. [ ] – 3:35 23 23 Dulcissime. [ ] – 0:43 13 13 Ego sum abbas. [ ] – 1:29 Blanziflor et Helena 14 14 . [ ] 3:05 24 24 Ave formosissima. [ ] – 1:50 III. Cour d’amours 18:31 Fortuna Imperatrix Mundi 3 :11 15 15 Amor volat undique. Largo – Rubato flessibile – [ ] – 25 25 O Fortuna. Pesante – [ ] 3 :11 A tempo come prima – 3:16 TT 60:37 16 16 Dies, nox et omnia. [ ] – 2:07 17 17 Stetit puella. [ ] – 1:49 18 18 Circa mea pectora. [ ] – Più mosso – soprano Ancora più mosso – Sempre accelerando – Barry Banks tenor Come prima – Più mosso – Christopher Maltman baritone Ancora più mosso – Sempre accelerando – Tiffin Boys’ Molto appassionato – Più mosso – Simon Toyne chorus master Ancora più mosso – Sempre accelerando – 2:04 London Symphony Chorus 19 19 Si puer cum puellula. Allegro buffo – Allegro molto – 0:58 Joseph Cullen chorus director 20 20 Veni, veni, venias. Allegro – 1:01 London Symphony Orchestra Sarah Nemtanu guest leader 21 21 In trutina. [ ] – 2:17 Richard Hickox

4 5 London Symphony Chorus

soprano alto Suleen Syn bass Robin Hall David Peirson Vicky Collis*§ Sarah Baird§ Claire Trocmé Joseph Bahoshy Bryan Hammersley Alan Rochford§ Emma Craven§ Sarah Biggs§ Judith Youdell Andy Chan Owen Hanmer*§ Tim Sanderson Eileen Fox Elizabeth Boyden Mimi Zadeh§ Hubert Chan§ Anthony Howick*§ Nicholas Seager§ Kate Gardner§ Sarah Castleton§ Stephen Chevis§ Julian Jarvis John Wareing Fulva Giust Glynis Charrot§ tenor Stewart Easton Alex Kidney§ Nicholas Weekes§ Jane Goddard Rosie Chute David Aldred Alastair Forbes§ Gregor Kowalski§ Anthony Wilder Deborah Grant Yvonne Cohen Paul Allatt Robert French Georges Leaver* Joanna Gueritz§ Genevieve Cope§ Robin Anderson§ Robert Garbolinski*§ Keith Montgomery§ *member of Council Carolin Harvey Janette Daines§ Conway Boezak John Graham§ Bill Pargeter§ §semi-chorus Lucy Heyman§ Kinga Daniel Andrew Fuller§ Katrina Hyde Zoe Davis§ David Leonard Sarah Illingworth Maggie Donnelly§ John Marks§ Rachel Kingston Diane Dwyer Simon Marsh§ Cinde Lee Linda Evans§ Alastair Mathews Rachael Leggett§ Lydia Frankenburg Malcolm Nightingale Clare Lorimer Amanda Freshwater Panos Ntourntoufis§ Jane Morley Christina Gibbs§ Stuart Packford Laurence Mullenders Jeannie Morrison§ Vanessa Knapp Eric Phillips Dorothy Nesbit§ Sue Lee§ Harold Raitt§ Emily Norton Catherine Lenson§ Graham Steele Maggie Owen Belinda Liao§ Richard Street Ann Pfeiffer Suzanne Louvell Anthony Stutchbury Sue Pollard§ Anne Loveluck§ Owen Toller§ Mikiko Ridd Barbara Marchbank Claudio Tonini§ Stefanie Rumpelt§ Alex O’Shea James Warbis*§ Melissa Scott Lucy Reay§ Robert Ward* Amanda Thomas Clare Rowe Julia Warner Lis Smith§ Mary Withall§ Jane Steele Laura Claycomb

6 7 typified by Orff’s work, and it was partly the Bavarian Alps early in the nineteenth Carl Orff: Carmina burana through his influence in official circles that century. (Burana is the Latin adjective relating Orff’s name was to remain on the list of to Beuren, or Benediktbeuern.) The songs, composers eligible for broadcast in Germany; vivid and colourful, were those sung by the Everything I have written to date, and of , then enjoying his official approbation for his music came in – hedonistic students and travelling which you have (unfortunately) printed, meteoric rise to fame. The interpretation 1942 when Orff was awarded an RMK prize. monks who celebrated their riotous pursuits can be destroyed. With Carmina burana, by Karajan in particular was singled out by Nonetheless, Orff was generally regarded in poetry of a suitably bawdy and profane my collected works begin! critics for successfully balancing the work’s with suspicion by the fascists and he was nature. The twenty-four ‘cantiones profanae’ So Carl Orff (1895 −1982) is reputed to characteristic energy with moments of considerably relieved when in July 1944 he chosen by Orff from Schmeller’s collection have declared to his publisher at around haunting tenderness, an achievement that received a reassurance from a Nazi official were translated and paraphrased by Michel the time of the first performance ofCarmina won him Orff’s personal approval. The first that his work had been personally considered Hofmann and Wolfgang Schadewalt, and burana at the Städtische Bühnen in performance of the work outside Germany by Goebbels and deemed to be acceptable. the composer set them to music for three am Main on 8 June 1937, when the work took place at Teatro alla Scala, Milan in After the Second World War, Orff would suffer vocal soloists, three (including a boys’ was conducted by Bertil Wetzelsberger October 1942, and in the United States it from criticisms that he had been complicit chorus) and a large orchestra featuring triple in a staged production directed by Oscar came to be championed by conductors of with the regime; in fact, he was of part-Jewish woodwind, two pianos and no fewer than five Wälterlin from designs by Ludwig Sievert. the stature of Leopold Stokowski and Fritz descent, and had tried to remain persona percussionists. The texts are organised into Conceiving this work, as he conceived almost Reiner. grata with his fascist masters partly for three principal sections: (I) ‘In Spring’ and ‘On all his major works, as a pageant was the The premiere in Frankfurt in 1937 formed reasons of personal survival. His somewhat the Green’; (II) ‘In the Tavern’; and (III) ‘The logical culmination of the strong interest part of what proved to be the final annual tarnished reputation was exacerbated by his Court of Love’ and ‘Blanziflor and Helena’. in such theatrical presentations which festival of the Allgemeiner Deutscher disingenuous behaviour when questioned Orff framed his cantata with two statements Orff had fostered since his first venture Musikverein (General German Music Society), by Allied occupying forces immediately after of a powerfully epigrammatic invocation of of this kind, a successful staged version an organisation founded by in the end of the war, when he deliberately Fortune (‘O Fortuna, velut Luna’), as it was this of the St Luke Passion (once attributed to the mid-nineteenth century. In 1936 the downplayed his involvement with the Nazi text and a striking illustration of the Wheel of J.S. Bach) at Munich in 1932. Carmina burana Nazi propaganda minister Joseph Goebbels Party. Fortune which had first caught his attention proved to be an instant success, with Hans had forced the president of the politically The idea for Carmina burana came to Orff when he read Schmeller’s book. Rosbaud mounting a performance during controlled Reichsmusikkammer (Reich in 1935 when he encountered an edition A major influence on Orff’s style was his tenure as music director of Westphalian Chamber of Music), Peter Raabe, to absorb of mediaeval songs (carmina), edited by the music of , with which Münster in the 1939/40 season, and Karl the Society fully into the RMK’s operations, the poet Johann Schmeller. Schmeller’s Orff closely identified, partly because both Böhm introducing it to Dresden audiences evidently so that it could be easily abolished handsome book, published in 1847, included composers in the 1920s and 1930s had in October 1940; both concert and in the following year. Raabe was a relatively several hundred texts in various languages, attempted to achieve a ritualistic style staged performances followed in liberal musician with modernist leanings, who drawn from manuscripts discovered in the inspired by Greek tragedy. Orff’s musical during 1941 under the musical direction favoured the kind of mild experimentation historic monastery of Benediktbeuern in language in Carmina burana owes much to

8 9 Stravinsky’s example in its heavy reliance eccentric portrayal of the doomed swan in her European debut at the Grand Théâtre royal de , The Santa Fe Opera on motoric ostinato patterns (ideal for the ‘Olim lacus colueram’ (No. 12). de Genève in 1994 as Giulietta in Bellini’s and Teatro Communale di Bologna amongst dancing and physical movement of the In spite of its occasionally derivative ICapuleti e i Montecchi. In 1997 she made her others. His roles include Lindoro (L’italiana stylised stage presentation for which the nature, however, the score possesses a debut at the as Amanda in in Algeri), Nemorino (L’elisir d’amore), Don score was designed), in certain rhythmic and gloriously infectious vulgarity interspersed Ligeti’s under Esa-Pekka Ramiro (La Cenerentola), Oreste (Ermione), harmonic characteristics, and in a fondness with moments of genuine beauty which has Salonen, and in 1998 at Teatro alla Scala, Tom Rakewell, Tamino, Don Narciso (Il turco for percussive sonorities. In particular, the assured it an unassailable position as one singing the title role in Donizetti’s Linda in Italia), Belfiore and Libenskof Il ( viaggio combination of pianos and percussion, which of the most popular of all twentieth-century di Chamounix. She has appeared in opera a Reims), L’Astrologue (Le Coq d’or), Don is prominent in the work’s instrumentation choral works. In its turn it has spawned houses across the globe in a repertoire Ottavio, and Uberto (La donna del lago). and is often used in isolation to accompany many direct imitations – not least in the extending from the works of Handel and the As a concert artist Barry Banks has sung rehearsals and even performances in the world of film music, where several modern heroines of Donizetti and Bellini to the role Rossini’s Petite messe solennelle with the Royal absence of an orchestra, was pioneered by Hollywood composers have reported it of Queen Wealtheow in the world premiere Philharmonic Orchestra under Daniele Gatti, Stravinsky in his ballet Les Noces (1914 – 23), to be the classical score most frequently of Elliot Goldenthal’s Grendel. As a concert Jaquino (Fidelio) with the City of Birmingham which used an ensemble of four pianos used by studios in preparing ‘temp tracks’ artist of distinction Laura Claycomb performs Symphony Orchestra under Walter Weller, and percussion directly imitated by Orff in (i.e. temporary music tracks intended to with conductors of international rank, such as Bruckner’s Requiem with the Scottish Chamber his less well-known Latin cantata Catulli demonstrate to a composer the kind of music , Sir , Valery Gergiev, Orchestra under Sir , and carmina (1930, revised 1943). Unmistakable envisaged for films in progress), with the Emmanuelle Haïm, Richard Hickox, Sir Roger Rossini’s Armida at the Edinburgh Festival emulations of Les Noces, which was itself a result that echoes from its distinctive idiom Norrington, Esa-Pekka Salonen, Michael under Carlo Rizzi. Elsewhere, he has performed thrilling danced celebration of pagan ritual, are commonplace in soundtracks in a wide Tilson Thomas and Frans Welser-Möst. Her Britten’s War Requiem with the Orchestre are heard in Carmina burana in Nos 18, 20 variety of modern film genres. wide-ranging discography includes the role philharmonique de Strasbourg under Jan and 22. Stravinsky’s earlier ballet Petrushka of Mrs Page in Vaughan Williams’s Sir John in Latham-Koenig, Rossini’s Ermione in concert © 2008 Mervyn Cooke (1911), again concerned with pagan festivities, Love for Chandos. at Carnegie Hall, and Bellini’s I puritani is directly recalled in Nos 3 and 14, and the and Donizetti’s at the Russian composer’s Symphony of Psalms Born in Texas and educated at Southern A graduate of the Royal Northern College of Caramoor Festival. Barry Banks’s discography (1930) colours Orff’s setting of No. 18 and Methodist University in and at Music, Barry Banks has established himself includes numerous recordings for Chandos. the two framing ‘Fortuna’ choruses. In his the Center, Laura as one of today’s finest interpreters of the resourceful sense of musical parody Orff Claycomb excels in adventurous repertoire, Italian bel canto repertoire. He is much in Winner of the Lieder Prize at the 1997 Cardiff reveals yet another conceptual link with ranging from baroque music and bel canto demand on the international opera stage, Singer of the World Competition, Christopher Stravinsky, whether imaginatively reworking masterpieces to contemporary compositions, performing at The Royal Opera, Covent Garden, Maltman read biochemistry at Warwick Verdi’s operatic idiom in a pastiche baritone her delicacy, refinement and theatricality The Metropolitan Opera, Opéra national de University and studied singing at the Royal aria (No. 11) or creating wonderfully quirky making her one of the foremost lyric Paris, , Théâtre musical Academy of Music. He recently made his sound worlds such as the tenor soloist’s coloraturas of her generation. She made du Châtelet, the Salzburg Festival, Théâtre debut at The Metropolitan Opera, New York

10 11 as Harlekin (). At The Royal It has given the premiere performances and Sir Colin Davis at the . Harding joined as Opera, Covent Garden he created the role of of works by, among others, John Gardner, The Orchestra and Chorus are regular Principal Guest Conductor. At its home at Sebastian in the world premiere of Thomas Christopher Brown, Elizabeth Poston partners and worked under Sir Colin Davis the Barbican Centre, the Orchestra promotes Adès’s The Tempest and has also sung and Antony Pitts, recorded widely, and on his notable Berlioz series, including most more concerts than any other classical music Guglielmo (Così fan tutte), Ramiro (L’Heure undertaken frequent concerts and tours in recently Benvenuto Cellini. Among many organisation in London. Recordings take it espagnole), Malatesta (Don Pasquale) and England and abroad. Thus, the Choir has other works, they have recorded Sibelius’s to a global audience of millions: as well as in Papageno. His roles at the Glyndebourne worked with all the London orchestras, Kullervo symphony, which received the award films such as Star Wars: Revenge of the Sith Festival include Ned Keene (Peter Grimes), has an annual partnership with the London for Best Choral Recording from BBC Music and Harry Potter and the Goblet of Fire, you Sid (Albert Herring), Figaro (Le nozze di Mozart Players and performs regularly with magazine in 2007, and Verdi’s Falstaff, which can hear the Orchestra on radio, television, Figaro) and Achilla (). At the The Royal Opera, Covent Garden; it has also won a Grammy for Best Opera Recording. and on computer games. LSO Discovery, the Bayerische Staatsoper, Munich he has sung appeared with the Bolshoi Opera and at The Chorus also took part in the performance Orchestra’s outreach programme, facilitates Tarquinius (The Rape of Lucretia), Marcello the Spoleto Festival. Tiffin School is a state and recording of Valery Gergiev’s complete music education, using new technology (La bohème) and Albert (Werther). An grammar school and specialist Performing Mahler cycle with the London Symphony and building links with the local community acclaimed Billy Budd, he has sung the role Arts College in Kingston-upon-Thames. Orchestra. Its extensive discography includes and in schools. The pioneering spirit was at Welsh National Opera, in Turin, Almost all the 1,200 boys in the school play many recordings with Richard Hickox for strong even in the Orchestra’s infancy. The in Seattle and in Munich. He has performed a musical instrument, and more than 100 Chandos, most recently of Vaughan Williams’s London Symphony Orchestra was the first Don Giovanni at the Salzburg Festival and at boys study music at advanced levels. The . In 2007, their performance British orchestra to tour abroad (1906) The Sage, Gateshead, and elsehwere appeared school has been closely connected with the of Haydn’s Die Schöpfung under Sir Colin and the first European orchestra to travel as Count Almaviva (Le nozze di Figaro), Figaro formation and development of the National Davis was considered by Seen and Heard to to America (1912). Since its inception, the (Il barbiere di Siviglia) and Aeneas (Dido Youth Music Theatre. Several members of be the performance of the year. The London Orchestra has given literally hundreds of first and Aeneas). In concert he has worked with the Choir have gained choral scholarships to Symphony Chorus appears regularly at all performances and commissioned some of the conductors such as Christoph von Dohnányi, Oxford and Cambridge, singing in the choirs the major London venues, tours extensively most important music ever written. Always John Adams, Sir , Sir Simon of King’s College, St John’s College and New throughout Europe and has visited Israel, outspoken and inventive, the Orchestra has Rattle, Nikolaus Harnoncourt, Sir John Eliot College. Australia, the Far East and the USA. led the way in orchestral development and Gardiner, Esa-Pekka Salonen and Kurt Masur. www.lsc.org.uk initiative. His recital career takes him to the greatest Formed in 1966, the London Symphony concert halls of the world. Chorus has added to its broad repertoire The London Symphony Orchestra is riding One of Britain’s most gifted and versatile by commissioning works from Sir John the crest of a wave. In January 2007 Sir Colin conductors, Richard Hickox CBE is Music Since its foundation in 1957, the Tiffin Tavener, Sir Peter Maxwell Davies, Michael Davis became the President of the Orchestra, Director of Opera Australia, and was Principal Boys’ Choir has been one of the few state Berkeley and Jonathan Dove. In April 2008, only the fifth in its history, and Valery Conductor of the BBC National Orchestra school choirs to have been continually at the it premiered James MacMillan’s St John Gergiev took over as Principal Conductor. of Wales from 2000 until 2006 when he forefront of the choral music scene in Britain. Passion with the London Symphony Orchestra At the start of the 2006/07 season, Daniel became Conductor Emeritus. He founded

12 13 the City of London Sinfonia, of which Garden, English National Opera, Vienna State he is Music Director, in 1971. He is also Opera and Washington Opera among others. Carl Orff: Carmina burana Associate Guest Conductor of the London He has guest conducted such world-renowned Symphony Orchestra, Conductor Emeritus orchestras as the Pittsburgh Symphony of the Northern Sinfonia, and co-founder of Orchestra, Orchestre de Paris, Bavarian Alles, was ich bisher geschrieben habe von Herbert von Karajan, der damals gerade Collegium Musicum 90. Radio Symphony Orchestra and New York und Sie leider gedruckt haben, können seinen kometenhaften Aufstieg erlebte. He regularly conducts the major orchestras Philharmonic. Sie nun einstampfen. Mit Carmina burana Besonders Karajans Interpretation wurde von in the UK and has appeared many times at His phenomenal success in the recording beginnen meine gesammelten Werke! der Kritik dafür gelobt, dass sie erfolgreich the BBC Proms and at the Aldeburgh, Bath studio has resulted in more than 280 So soll sich Carl Orff (1895 −1982) um die der charakteristischen Energie des Werks and Cheltenham festivals among others. recordings, including most recently cycles of Zeit der Uraufführung der Carmina burana Momente sehnsuchtsvoller Empfindsamkeit With the London Symphony Orchestra at the orchestral works by Sir Lennox and Michael geäußert haben; das Werk hatte seine Premiere entgegensetzte, was ihm Orffs persönliches Barbican Centre he has conducted a number Berkeley and Frank Bridge with the BBC am 8. Juni 1937 an den Städtischen Bühnen in Wohlwollen einbrachte. Die erste Aufführung of semi-staged operas, including Billy Budd, National Orchestra of Wales, the symphonies Frankfurt am Main unter der Leitung von Bertil der Komposition außerhalb Deutschlands fand Hänsel und Gretel and Salome. With the by Vaughan Williams with the London Wetzelsberger in einer von Oscar Wälterlin im Oktober 1942 am Mailänder Teatro alla Bournemouth Symphony Orchestra he gave Symphony Orchestra, and a series of operas inszenierten Bühnenfassung, ausgestattet Scala statt, und in den USA setzten sich so the first ever complete cycle of Vaughan by Britten with the City of London Sinfonia. von Ludwig Sievert. Dieses Werk wie fast bedeutende Dirigenten wie Leopold Stokowski Williams’s symphonies in London. In the He has received a Grammy (for Peter Grimes) alle seiner bedeutenden Kompositionen als und Fritz Reiner dafür ein. course of an ongoing relationship with the and fiveGramophone Awards. Richard Hickox Spektakel zu konzipieren, war der logische Die Uraufführung 1937 in Frankfurt war Philharmonia Orchestra he has conducted was awarded a CBE in the Queen’s Jubilee Höhepunkt von Orffs intensivem Interesse Teil der, wie sich erweisen sollte, letzten Elgar, Walton and Britten festivals at the Honours List in 2002, and has received an solchen theatralischen Darbietungen, das jährlichen Festspiele des Allgemeinen South Bank and a semi-staged performance many other awards, including two Royal er seit seinem ersten Versuch dieser Art Deutschen Musikvereins, der um die Mitte des of Gloriana at the . Philharmonic Society Music Awards, the first gepflegt hatte, nämlich der 1932 in München neunzehnten Jahrhunderts von Franz Liszt Apart from his activities at the Sydney ever Sir Charles Groves Award, the Evening erfolgreich aufgeführten Bühnenfassung der begründet worden war. Im Jahre 1936 hatte Opera House, he has enjoyed recent Standard Opera Award, and the Association (einst J.S. Bach zugeschriebenen) Lukaspassion. NS-Propagandaminister Joseph Goebbels engagements with The Royal Opera, Covent of British Orchestras Award. Carmina burana erwies sich unmittelbar als den Vorsitzenden der gleichgeschalteten Erfolg, als Hans Rosbaud während seiner Zeit Reichsmusikkammer, Peter Raabe, dazu als Generalmusikdirektor in Münster das Werk gezwungen, den Musikverein in seiner Ganzheit in der Spielzeit 1939/40 aufführte und Karl in den Betrieb der RMK einzugliedern, Böhm es im Oktober 1940 dem Dresdener offenbar mit dem Ziel, ihn im folgenden Jahr Publikum vorstellte: 1941 folgten sowohl ohne weiteres auflösen zu können. Raabe konzertante als auch inszenierte Darbietungen war ein relativ liberaler Musiker mit Hang in Berlin unter der musikalischen Leitung zum Modernismus, der die Art gemäßigten

14 15 Experimentierens bevorzugte, für das Orffs im alten Kloster Benediktbeuern in den beide Komponisten in den 1920er- und Orffs Satz der Nr. 18 und der beiden “Fortuna”- Schaffen stand, und es ist teils auf seinen bayerischen Alpen aufgefunden worden 30er-Jahren darum bemüht hatten, einen von der Chöre. In seinem einfallsreichen Sinn für Einfluss zurückzuführen, dass Orffs Name auf waren. (Burana ist das lateinische Adjektiv zu griechischen Tragödie inspirierten ritualistischen musikalische Parodie verrät Orff eine weitere der Liste jener Komponisten verblieb, deren Beuren bzw. Benediktbeuern.) Die lebhaften Stil zu entwickeln. Orffs musikalische konzeptionelle Beziehung zu Strawinsky, sei es Ausstrahlung im deutschen Rundfunk erlaubt und farbenfrohen Lieder wurden von den Ausdrucksform in Carmina burana verdankt in seiner phantasievollen Umsetzung von Verdis war; offizielle Zustimmung für Orffs Musik wurde Goliarden gesungen – hedonistischen dem Vorbild Strawinskys insofern einiges, als Opernidiom im Pasticcio einer Baritonarie (Nr. 11) ihm 1942 zuteil, als ihm ein Preis der RMK Studenten und wandernden Mönchen, die sie sich stark auf motorische Ostinatoschemata oder in der Erfindung wunderbar abwegiger verliehen wurde. Nichtsdestoweniger begegneten ihre Ausschweifungen in entsprechend stützt (ideal für die Tänze und den körperlichen Klangwelten wie in der exzentrischen Darstellung die Nazis Orff allgemein mit Misstrauen, und unzüchtigen und profanen Gedichten feierten. Ausdruck der stilisierten Bühneninszenierung, des zum Verzehr bestimmten Schwans durch den er war ausgesprochen erleichtert, als ihm ein Die vierundzwanzig “cantiones profanae”, die auf welche die Partitur ausgerichtet war), Tenorsolisten in “Olim lacus colueram” (Nr. 12). Parteifunktionär im Juli 1944 versicherte, Orff aus Schmellers Sammlung auswählte, außerdem in Bezug auf gewisse rhythmische und Doch trotz ihrer gelegentlich epigonalen dass sein Schaffen von Goebbels persönlich wurden von Michel Hofmann und Wolfgang harmonische Charakteristika und eine Vorliebe Natur verfügt die Partitur über eine wundervoll begutachtet und für akzeptabel erklärt worden Schadewalt übersetzt und paraphrasiert, um für schlagzeugbetonte Klänge. Insbesondere die ansteckende Vulgarität, durchsetzt mit war. Nach dem Zweiten Weltkrieg sollte Orff der dann vom Komponisten mit Musik für drei Kombination von Klavieren und Schlagzeug, die Momenten wahrer Schönheit, die ihr eine Kritik ausgesetzt sein, er habe mit dem Regime Gesangssolisten, drei Chöre (einschließlich in der Instrumentierung des Werks eine große unanfechtbare Position als eines der populärsten kollaboriert; tatsächlich war er teils jüdischer eines Knabenchors) und großes Orchester mit Rolle spielt und oft für sich genommen als Chorwerke des zwanzigsten Jahrhunderts Abstammung und hatte sich unter anderem aus dreifach besetzten Holzbläsern, zwei Klavieren Probenbegleitung und sogar für Aufführungen gesichert hat. Und die Komposition hat ihrerseits Gründen der Selbsterhaltung bemüht, persona und nicht weniger als fünf Schlagzeugern ohne Orchester benutzt wird, hatte Strawinsky zahlreiche direkte Imitationen hervorgebracht – grata bei den faschistischen Herrschern zu versehen zu werden. Die Texte sind in drei in seinem Ballett Les Noces (1914 –1923) nicht zuletzt im Bereich der Filmmusik, wo bleiben. Sein eher befleckter Ruf wurde noch Hauptgruppen aufgeteilt: (I) “Im Frühling” und eingeführt; es brachte ein Ensemble von vier mehrere Hollywood-Komponisten unserer dadurch beeinträchtigt, dass er bei Befragungen “Auf dem Anger”; (II) “In der Schenke”; (III) “Der Klavieren und Schlagzeug zum Einsatz, das Orff Zeit es als die klassische Partitur bezeichnet durch die alliierten Besatzungsmächte gleich Liebeshof” und “Blanziflor und Helena”. Orff in seiner weniger bekannten lateinischen Kantate haben, die mit am häufigsten von Studios als nach dem Krieg seine Beziehungen zur NSDAP umrahmte seine Kantate mit zwei Darbietungen Catulli carmina (1930, revidiert 1943) direkt “temp track” genutzt wird (d.h. als temporäre unaufrichtig herunterzuspielen versuchte. einer eindringlich epigrammatischen Anrufung imitierte. Unverwechselbare Nachahmungen Tonspur, die Komponisten Hinweise darauf Die Idee zu Carmina burana kam Orff der Glücksgöttin (“O Fortuna, velut Luna”), von Les Noces, selbst eine mitreißende, in Tanz geben soll, welche Art von Musik man sich für im Jahre 1935, als er auf eine Ausgabe denn dieser Text hatte, zusammen mit einer umgesetzte Feier heidnischer Rituale, sind in Vorbereitung befindliche Filme vorstellt), mittelalterlicher Lieder (carmina) stieß, eindrucksvollen Illustration des Glücksrads, in Carmina burana in den Nummern 18, 20 was dazu geführt hat, dass Anklänge an das herausgegeben von dem Dichter Johann beim Lesen von Schmellers Buch zuerst seine und 22 zu hören. Strawinskys früheres Ballett charakteristische Idiom des Werks in allen Schmeller. Schmellers 1847 veröffentlichtes, Aufmerksamkeit erregt. Petruschka (1911), das sich ebenfalls um möglichen modernen Filmmusiken zu hören sind. schön aufgemachtes Buch enthielt mehrere Wesentlichen Einfluss auf Orffs Stil hatte heidnische Feiern dreht, klingt in den Nummern hundert Texte in verschiedenen Sprachen, die Musik Igor Strawinskys, mit der sich Orff 3 und 14 direkt an, und die Psalmensinfonie des © 2008 Mervyn Cooke die Anfang des neunzehnten Jahrhunderts stark identifizierte, zum Teil deshalb, weil sich russischen Komponisten von 1930 beeinflusste Übersetzung: Bernd Müller

16 17 modérées représentées par l’œuvre d’Orff, bavaroises, au début du dix-neuvième siècle. Carl Orff: Carmina burana et c’est en partie grâce à son influence dans (Burana est l’adjectif latin correspondant à les cercles officiels que le nom de ce dernier Beuren, ou Benediktbeuern.) Ces chansons, resta sur la liste des compositeurs pouvant évocatrices et hautes en couleur, étaient Tout ce que j’ai écrit jusqu’à aujourd’hui, qui faisait alors une ascension fulgurante être diffusés à la radio en Allemagne; la entonnées par les goliards – étudiants et que vous avez (malheureusement) vers la célébrité. La critique apprécia reconnaissance de la musique d’Orff par les hédonistes et moines ambulants qui imprimé, peut être détruit. Avec Carmina particulièrement son interprétation pour autorités arriva en 1942, lorsqu’un prix de la célébraient leur existence dissipée dans une burana débutent mes œuvres complètes! l’équilibre qu’il avait su trouver entre l’énergie RMK lui fut décerné. Il n’en était pas moins poésie paillarde et profane à souhait. Les C’est ce qu’aurait déclaré Carl Orff caractéristique de l’œuvre et des moments considéré avec suspicion par les fascistes et vingt-quatre “cantiones profanae” choisies (1895 −1982) à son éditeur, à l’époque de la d’une tendresse poignante, ce qui lui valut fut considérablement soulagé, en juillet 1944, par Orff dans le recueil de Schmeller furent création des Carmina burana aux Städtische aussi l’approbation personnelle d’Orff. La d’apprendre d’un fonctionnaire nazi que ses traduites et paraphrasées par Michel Bühnen de Francfort, le 8 juin 1937; l’œuvre, première audition en dehors d’Allemagne eut compositions avaient été examinées par Hofmann et Wolfgang Schadewalt, et le dirigée par Bertil Wetzelsberger, était mise lieu au Teatro alla Scala de Milan en octobre Goebbels lui-même, et jugées acceptables. compositeur les mit en musique pour trois en scène par Oscar Wälterlin à partir de 1942, et aux États-Unis l’œuvre fut bientôt Après la Seconde Guerre mondiale, on lui chanteurs solistes, trois chœurs (dont un croquis de Ludwig Sievert. Il était logique défendue par des chefs de la stature de reprocha d’avoir été complice du régime; chœur de garçons) et un grand orchestre qu’Orff ait conçu Carmina burana, à l’instar Leopold Stokowski ou de Fritz Reiner. en fait, il était en partie d’origine juive, et comprenant les bois par trois, deux pianos, de pratiquement toutes ses œuvres les plus La première francfortoise, en 1937, faisait il était essentiel pour lui de ne pas s’attirer et pas moins de cinq percussionnistes. importantes, comme un spectacle historique, partie de ce qui fut en définitive le dernier la défaveur de ses maîtres fascistes s’il Les textes sont organisés en trois sections compte tenu de son grand intérêt pour ce festival annuel de l’Allgemeiner Deutscher voulait survivre. Sa réputation, quelque peu principales: (I) “Au printemps” et “Sur le type de présentations théâtrales depuis sa Musikverein (Société générale de musique ternie, fut encore salie par son manque de pré”; (II) “À la taverne”; (III) “Cour d’amours” première tentative selon cette approche, une d’Allemagne), organisme fondé par Franz franchise lors de son interrogatoire par les et “Blanziflor et Helena”. Orff a encadré sa version scénique réussie de la Passion selon Liszt au milieu du dix-neuvième siècle. En forces d’occupation alliées, juste après la cantate de deux occurrences d’une invocation Saint Luc (autrefois attribuée à J.S. Bach), 1936, le ministre nazi de la Propagande, guerre, puisqu’il minimisa délibérément ses puissamment épigrammatique à la Fortune à Munich en 1932. Le succès fut immédiat: Joseph Goebbels, avait contraint Peter Raabe, accointances avec le parti nazi. (“O Fortuna, velut Luna”), car c’est ce texte Hans Rosbaud monta Carmina burana alors président de la Reichsmusikkammer (Chambre L’idée des Carmina burana vint à Orff et une illustration saisissante de la roue de la qu’il était directeur musical de Münster, en de musique du Reich) contrôlée par le en 1935, lorsqu’il lut pour la première fois Fortune qui avaient, les premiers, attiré son Westphalie, au cours de la saison 1939 – gouvernement, à fusionner la Société dans les des chansons du Moyen Âge (carmina) dans attention dans le livre de Schmeller. 1940, et Karl Böhm la présenta au public activités de la RMK, manifestement de façon une édition du poète Johann Schmeller. Ce L’une des influences essentielles sur de Dresde en octobre 1940; elle fut ensuite à pouvoir aisément la dissoudre un an plus beau livre publié en 1847 incluait plusieurs l’écriture d’Orff fut la musique d’Igor donnée à Berlin pendant l’année 1941, aussi tard. Raabe était un musicien relativement centaines de textes dans différentes langues, Stravinsky, à laquelle il s’identifiait bien en version scénique qu’en concert, progressiste, de tendance moderniste, qui tirés de manuscrits découverts au monastère étroitement, en partie parce que dans les sous la baguette de Herbert von Karajan, appréciait le genre d’expérimentations historique de Benediktbeuern, dans les Alpes années 1920 et 1930 les deux compositeurs

18 19 avaient essayé de créer un style rituel inspiré compositeur. Par son inventivité en termes Carmina burana Carmina burana de la tragédie grecque. Dans Carmina de parodie musicale, Orff révèle encore un burana, le langage musical d’Orff doit autre lien conceptuel avec Stravinsky, qu’il Fortuna Imperatrix Mundi Fortune, Empress of the World beaucoup à l’exemple du musicien russe reprenne avec créativité le style opératique 1 1. O Fortuna 1. O Fortune de par ses nombreux ostinatos motoriques de Verdi dans un pastiche d’air de baryton (Chorus) (Chorus) (idéaux pour les danses et mouvements de (no 11), ou qu’il imagine un univers sonore O Fortuna, O Fortune, la présentation scénique stylisée prévue merveilleusement étrange comme dans velut Luna like the moon à l’origine pour cette partition), certaines “Olim lacus colueram” (no 12), où le ténor statu variabilis, you are changeable, caractéristiques rythmiques et harmoniques, solo incarne de manière insolite un cygne semper crescis ever waxing et une prédilection pour les sonorités condamné à la rôtissoire. aut decrescis; and waning; percussives. Stravinsky a notamment été Malgré sa nature imitative par endroits, vita detestabilis hateful life l’un des premiers à employer, dans son la partition possède une vulgarité nunc obdurat first oppresses ballet Les Noces (1914 –1923) – écrit pour jubilatoire et contagieuse entrecoupée de et tunc curat and then soothes quatre pianos et percussion, formation passages d’une véritable beauté, ce qui ludo mentis aciem, as fancy takes it, reprise telle quelle par Orff dans sa cantate lui assure une position imprenable parmi egestatem, poverty latine moins connue Catulli carmina (1930 les œuvres chorales les plus populaires potestatem and power, révisée en 1943) –, la combinaison pianos et de tout le vingtième siècle. Elle a à son dissolvit ut glaciem. it melts them like ice. percussion qui occupe une place de premier tour engendré de nombreuses copies – au plan dans l’instrumentation des Carmina cinéma notamment, plusieurs compositeurs Sors immanis Fate, monstrous burana, et que l’on utilise souvent seule contemporains d’Hollywood ayant affirmé et inanis, and empty, pour accompagner les répétitions ou même que c’était la partition classique la plus rota tu volubilis, you whirling wheel, en concert, en l’absence d’un orchestre. Les fréquemment utilisée dans les studios status malus, you are malevolent, numéros 18, 20 et 22 sont indubitablement pour préparer des “temp tracks” (bandes- vana salus well-being is in vain inspirés par Les Noces, qui constituent une son temporaires servant à montrer à un semper dissolubilis, and always fades to nothing, célébration dansée électrisante d’un rituel compositeur le type de musique envisagé obumbrata shadowed païen; les numéros 3 et 14 rappellent pour pour un film en cours), si bien qu’il est et velata and veiled leur part directement Petrouchka (1911), fréquent de retrouver des échos de son michi quoque niteris; you plague me too; ballet antérieur de Stravinsky lui aussi centré langage distinctif dans une grande variété de nunc per ludum now through the game sur une fête païenne; enfin le numéro 18 films récents. dorsum nudum I bring my bare back et les deux invocations à la Fortune, au fero tui sceleris. to your villainy. début et à la fin, sont influencés par la © 2008 Mervyn Cooke Symphonie des psaumes (1930) du même Traduction: Josée Bégaud

20 21 Sors salutis Fate in health nunc a summo corrui now I fall from the peak et virtutis and virtue gloria privatus. deprived of glory. michi nunc contraria is against me, est affectus driven on Quicquid enim floruietc. Though I may have flourished etc. et defectus and weighted down, semper in angaria. always enslaved. Fortune rota volvitur: The wheel of Fortune turns: Hac in hora So at this hour descendo minoratus; I go down, demeaned; sine mora without delay alter in altum tollitur; another is raised up; corde pulsum tangite; pluck the vibrating strings; nimis exaltatus far too high up quod per sortem since Fate rex sedet in vertice – sits the king at the summit – sternit fortem, strikes down the strong man, caveat ruinam! let him fear ruin! mecum omnes plangite! everyone weep with me! nam sub axe legimus for under the axis is written, Hecubam reginam. Queen Hecuba. 2 2. Fortune plango vulnera 2. I bemoan the wounds of Fortune (Chorus) (Chorus) Rex sedet in vertice etc. Sits the king at the summit etc. Fortune plango vulnera I bemoan the wounds of Fortune stillantibus ocellis, with weeping eyes, I. Primo vere I. In Spring quod sua michi munera for the gifts she made me 3 3. Veris leta facies 3. The merry face of spring subtrahit rebellis. she perversely takes away. (Semi-chorus) (Semi-chorus) Verum est, quod legitur It is written in truth, Veris leta facies The merry face of spring fronte capillata, that she has a fine head of hair, mundo propinatur, turns to the world, sed plerumque sequitur but, when it comes to seizing an opportunity, hiemalis acies sharp winter Occasio calvata. she is bald. victa iam fugatur. now flees, vanquished. In vestitu vario Bedecked in various colours Verum est, quod legitur etc. It is written in truth etc. Flora principatur, Flora reigns, nemorum dulcisono, the harmony of the woods In Fortune solio On Fortune’s throne que cantu celebratur. Ah! praises her in song. Ah! sederam elatus, I used to sit raised up, prosperitatis vario crowned with the many-coloured Flore fusus gremio Lying in Flora’s lap, flore coronatus; flowers of prosperity; Phebus novo more Phoebus once more quicquid enim florui though I may have flourished risum dat, hoc vario smiles, now covered felix et beatus, happy and blessed, iam stipate flore. in many-coloured flowers.

22 23 Zephyrus nectareo Zephyr breathes vias prebet solitas, it shows us paths we know well, spirans in odore; nectar-scented breezes; et in tuo vere and in your springtime certatim pro bravio let us rush to compete fides est et probitas it is true and right curramus in amore. Ah! for love’s prize. Ah! tuum retinere. to keep what is yours.

Cytharizat cantico In harp-like tones sings Ama me fideliter! Love me faithfully! dulcis Philomena, the sweet nightingale, fidem meam nota: see how I am faithful: flore rident vario with many flowers de corde totaliter with all my heart prata iam serena, the joyous meadows are laughing, et ex mente tota and with all my soul salit cetus avium a flock of birds rises up silve per amena, through the pleasant forests, sum presentialiter I am with you chorus promit virginum the chorus of maidens already promises absens in remota. even when I am far away. iam gaudia millena. Ah! a thousand joys. Ah! Quisquis amat taliter, Whoever loves this much, volvitur in rota. turns on the wheel. 4 4. Omnia Sol temperat 4. The Sun warms everything (Baritone) (Baritone) 5 5. Ecce gratum 5. Behold, the pleasant Omnia Sol temperat The Sun warms everything (Chorus) (Chorus) purus et subtilis, pure and gentle, Ecce gratum Behold, the pleasant novo mundo reserat once again it reveals to the world et optatum and longed-for faciem Aprilis; April’s face; Ver reducit gaudia: Spring brings back joyfulness: purpuratum violet flowers ad Amorem properat towards Love is urged floret pratum, fill the meadows, animus herilis, the soul of man, Sol serenat omnia. the Sun brightens everything. et iocundis imperat and joys are governed Iam iam cedant tristia! Sadness is now at an end! deus puerilis. by the boy-god. Estas redit, Summer returns, nunc recedit now withdraw Rerum tanta novitas All this rebirth Hyemis sevitia. Ah! the rigours of Winter. Ah! in solemni vere in spring’s festivity et veris auctoritas and spring’s power Iam liquescit Now melts iubet nos gaudere, bids us rejoice, et decrescit and disappears grando, nix etcetera; ice, snow and the rest; bruma fugit, winter flees,

24 25 et iam sugit and now sucks Floret silva undique, The woods are burgeoning all over, Ver Estatis ubera; Spring at Summer’s breast; nah mime gesellen ist mir wê. I am pining for my lover. illi mens est misera, a wretched soul is he qui nec vivit, who does not live Gruonet der walt allenthalben, The woods are turning green all over, nec lascivit or lust wâ ist min geselle alse lange? Ah! why is my lover away so long? Ah! sub Estatis dextera. Ah! under Summer’s rule. Ah! Der ist geriten hinnen, He has ridden off, Gloriantur They glory owî, wer sol mich minnen? Ah! oh woe, who will love me? Ah! et letantur and rejoice in melle dulcedinis, in honeyed sweetness, 8 8. Chramer, gip die varwe mir 8. Shopkeeper, give me colour qui conantur, who strive (Chorus and semi-chorus) (Chorus and semi-chorus) ut utantur to make use of 1 1 premio Cupidinis; Cupid’s prize; Chramer, gip die varwe mir, Shopkeeper, give me colour simus jussu Cypridis at Venus’s command die min wengel roete, to make my cheeks red, gloriantes let us glory da mit ich die jungen man so that I can make the young men et letantes and rejoice an ir dank der minnenliebe noete. love me, against their will. pares esse Paridis. Ah! in being Paris’s equals. Ah! Seht mich an, Look at me, Uf dem anger On the Green jungen man! young men! 6 6. Tanz 6. Dance lat mich iu gevallen! let me please you!

7 7. Floret silva 7. The noble woods are burgeoning 2 2 (Chorus and semi-chorus) (Chorus and semi-chorus) Minnet, tugentliche man, Good men, love Floret silva nobilis The noble woods are burgeoning minnecliche frouwen! women worthy of love! floribus et foliis. with flowers and leaves. minne tuot iu hoch gemuot love ennobles your spirit unde lat iuch in hohen eren schouwen. and gives you honour. Ubi est antiquus Where is the lover meus amicus? Ah! I knew? Ah! Seht mich an etc. Look at me etc.

Hinc equitavit! He has ridden off! 3 3 Eia quis me amabit? Ah! Oh, who will love me? Ah! Wol dir, Werlt, daz du bist Hail, World, who is also freudenriche! so rich in joys!

26 27 ich will dir sin undertan I will be obedient to you 10 10. Were diu werlt alle min 10. If all the world were mine durch din liebe immer sicherliche. because of the pleasures you afford. (Chorus) (Chorus) Were diu werlt alle min If all the world were mine Seht mich an etc. Look at me etc. von deme mere unze an den Rin, from the sea to the Rhine, des wolt ih mih darben, I would do without it 9 9. Reie 9. Round dance daz diu chünegin von Engellant if the Queen of England lege an minen armen. Hei! would lie in my arms. Hey! Swaz hie gat umbe Those who go round and round (Chorus) (Chorus) II. In Taberna II. In the Tavern Swaz hie gat umbe, Those who go round and round, 11 11. Estuans interius 11. Burning inside daz sint allez megede, they are all maidens, (Baritone) (Baritone) die wellent ân man they want to do without a man Estuans interius Burning inside alle disen sumer gan! Ah! Sla! all summer long! Ah! Sla! ira vehementi with violent anger in amaritudine and bitterness, Chume, chum, geselle min Come, come, my love loquor mee menti: I speak to my heart: (Semi-chorus) (Semi-chorus) factus de materia, created from matter, Chume, chum, geselle min, Come, come, my love, cinis elementi of the ashes of the elements, ih enbite harte din, I long for you, similis sum folio, I am like a leaf ih enbite harte din, I long for you, de quo ludunt venti. played with by the winds. chume, chum, geselle min. come, come, my love. Cum sit enim proprium If it is the way Suzer roservarwer munt, Sweet rose-red lips, viro sapienti of the wise man, chum uñ mache mich gesunt, come and make me better, supra petram ponere on stone to build chum uñ mache mich gesunt, come and make me better, sedem fundamenti, his foundations, suzer roservarwer munt. sweet rose-red lips. stultus ego comparor then I am a fool, fluvio labenti, like a flowing stream Swaz hie gat umbe Those who go round and round sub eodem tramite which in its course (Chorus) (Chorus) nunquam permanenti. never changes. Swaz hie gat umbe etc. Those who go round and round etc. Feror ego veluti I am carried along sine nauta navis, like a ship without a steersman, ut per vias aeris and in the paths of the air

28 29 vaga fertur avis; a light, hovering bird; Miser, miser! Misery me! non me tenent vincula, chains cannot hold me, modo niger now black non me tenet clavis, keys cannot imprison me, et ustus fortiter! and roasting fiercely! quero mihi similes, I look for people like me et adiungor pravis. and join the wretches. 2 2 Girat, regirat garcifer; The servant is turning me on the spit; Mihi cordis gravitas The heaviness of my heart me rogus urit fortiter: I am burning fiercely on the pyre: res videtur gravis; seems a burden to me; propinat me nunc dapifer. the steward now serves me up. iocus est amabilis it is pleasant to joke dulciorque favis; and sweeter than honeycomb; Miser, miser etc. Misery me etc. quicquid Venus imperat, whatever Venus commands labor est suavis, is a sweet duty, 3 3 que nunquam in cordibus she never dwells Nunc in scutella iaceo, Now I lie on a plate, habitat ignavis. in a lazy heart. et volitare nequeo, and cannot fly any more, dentes frendentes video: I see bared teeth: Via lata gradior I travel the broad path more iuventutis, as is the way of youth, Miser, miser etc. Misery me etc. inplicor et vitiis I give myself to vice, immemor virtutis, unmindful of virtue, 13 13. Ego sum abbas 13. I am the abbot voluptatis avidus I am eager for the pleasures of the flesh (Baritone and male chorus) (Baritone and male chorus) magis quam salutis, more than for salvation, Ego sum abbas Cucaniensis, I am the abbot of Cockaigne mortuus in anima my soul is dead, et consilium meum est cum bibulis, and my assembly is one of drinkers, curam gero cutis. so I shall look after the flesh. et in secta Decii voluntas mea ’st and I wish to be in the order of Decius et qui mane me quesierit in taberna and whoever searches me out at the tavern in 12 12. Olim lacus colueram 12. Once I lived on lakes post vesperam nudus egredietur, the morning, (Tenor and male chorus) (Tenor and male chorus) et sic denudatus veste clamabit: after Vespers he will leave naked, [The roasted swan sings:] [The roasted swan sings:] and thus stripped of his clothes he will call out: 1 1 Olim lacus colueram, Once I lived on lakes, Wafna! Wafna! Wafna! Wafna! Woe! Woe! Woe! Woe! olim pulcher extiteram once I looked beautiful, quid fecisti sors turpissima? what have you done, vilest fate? dum cignus ego fueram. when I was a swan. Wafna! Wafna! Wafna! Woe! Woe! Woe!

30 31 Nostre vite gaudia The joys of my life, Octies pro fratribus perversis, Eight for the errant brethren, abstulisti omnia! you have taken all away! nonies pro monachis dispersis, nine for the dispersed monks, Wafna! Wafna! Wafna! Wafna! Woe! Woe! Woe! Woe! decies pro navigantibus, ten for the seamen, Ha ha! Ha ha! undecies pro discordantibus, eleven for the squabblers, duodecies pro penitentibus, twelve for the penitent, 14 14. In taberna quando sumus 14. When we are in the tavern tredecies pro iter agentibus. thirteen for the wayfarers. (Male chorus) (Male chorus) Tam pro papa quam pro rege To the Pope as to the king In taberna quando sumus, When we are in the tavern, bibunt omnes sine lege. they all drink without restraint. non curamus quid sit humus, we do not think how we will go to dust, sed ad ludum properamus, but we hurry to gamble, Bibit hera, bibit herus, The mistress drinks, the master drinks, cui semper insudamus. which always makes us sweat. bibit miles, bibit clerus, the soldier drinks, the priest drinks, Quid agatur in taberna, What happens in the tavern, bibit ille, bibit illa, the man drinks, the woman drinks, ubi nummus est pincerna, where money is host, bibit servus cum ancilla, the servant drinks with the maid, hoc est opus ut queratur, you may well ask, bibit velox, bibit piger, the swift man drinks, the lazy man drinks, sic quid loquar, audiatur. and hear what I say. bibit albus, bibit niger, the white man drinks, the black man drinks, bibit constans, bibit vagus, the settled man drinks, the wanderer drinks, Quidam ludunt, quidam bibunt, Some gamble, some drink, bibit rudis, bibit magus. the stupid man drinks, the wise man drinks. quidam indiscrete vivunt. some behave loosely. Sed in ludo qui morantur, But of those who gamble, Bibit pauper et egrotus, The poor man drinks, and the sick man, ex his quidam denudantur, some are stripped bare, bibit exul et ignotus, the exile drinks, and the stranger, quidam ibi vestiuntur, some win their clothes here, bibit puer, bibit canus, the boy drinks, the old man drinks, quidam saccis induuntur. some are dressed in sacks. bibit presul et decanus, the bishop drinks, and the deacon, Ibi nullus timet mortem, Here no one fears death, bibit soror, bibit frater, the sister drinks, the brother drinks, sed pro Baccho mittunt sortem: but they throw the dice in the name of Bacchus: bibit anus, bibit mater, the old lady drinks, the mother drinks, bibit iste, bibit ille, this woman drinks, that man drinks, Primo pro nummata vini, First of all it is to the wine-merchant bibunt centum, bibunt mille. a hundred drink, a thousand drink. ex hac bibunt libertini; that the libertines drink; semel bibunt pro captivis, one for the prisoners, Parum sexcente nummate Six hundred pennies would hardly post hec bibunt ter pro vivis, three for the living, durant, cum immoderate suffice, if everyone drank quater pro Christianis cunctis, four for all Christians, bibunt omnes sine meta, without measure, quinquies pro fidelibus defunctis, five for the faithful dead, quamvis bibant mente leta; however much they cheerfully drink; sexies pro sororibus vanis, six for the loose sisters, sic nos rodunt omnes gentes, we are the ones whom everyone scolds, septies pro militibus silvanis. seven for the footpads in the wood. 32 33 et sic erimus egentes. and thus we are destitute. O sodales, ludite, O friends, you are making fun of me, Qui nos rodunt confundantur May those who slander us be cursed vos qui scitis dicite, you do not know what you are saying, et cum iustis non scribantur. and not recorded among the righteous. michi mesto parcite, spare me, sorrowful as I am, grand ey dolur, great is my grief, Io io io io io io io io io! Io io io io io io io io io! attamen consulite advise me at least per voster honur. by your honour. III. Cour d’amours III. The Court of Love 15 15. Amor volat undique 15. Cupid flies everywhere Tua pulchra facies, Your beautiful face (Soprano and children’s choir) (Soprano and children’s choir) me fay planszer milies, makes me weep a thousand times, Amor volat undique; Cupid flies everywhere; pectus habet glacies. your heart is of ice. captus est libidine. he is seized by desire. A remender As a cure Juvenes, iuvencule Young men and women statim vivus fierem I would be revived coniunguntur merito. are rightly coupled. per un baser. by a kiss.

Siqua sine socio, The girl without a lover 17 17. Stetit puella 17. A girl stood caret omni gaudio; misses out on all pleasures; (Soprano) (Soprano) tenet noctis infima she keeps the dark night Stetit puella A girl stood sub intimo hidden rufa tunica; in a red tunic; cordis in custodia: in the depth of her heart: si quis eam tetigit, if anyone touched it, tunica crepuit. the tunic rustled. fit res amarissima. it is a most bitter fate. Eia, eia, eia, eia. Eia, eia, eia, eia.

16 16. Dies, nox et omnia 16. Day, night and everything Stetit puella A girl stood (Baritone) (Baritone) tamquam rosula; like a little rose; Dies, nox et omnia Day, night and everything facie splenduit, her face was radiant, michi sunt contraria, is against me, os eius floruit. and her mouth in bloom. virginum colloquia the chattering of maidens Eia, eia, eia, eia. Eia, eia, eia, eia. me fay planszer makes me weep oy suvenz suspirer, and often sigh, 18 18. Circa mea pectora 18. In my heart plu me fay temer. and, most of all, scares me. (Baritone and chorus) (Baritone and chorus) Circa mea pectora In my heart multa sunt suspiria there are many sighs

34 35 de tua pulchritudine, for your beauty, pariter e medio and between them que me ledunt misere. Ah! which wound me sorely. Ah! avulso procul tedio, prudery is driven away, fit ludus ineffabilis an ineffable game begins Circa mea pectora In my heart membris, lacertis, labilis, in their limbs, arms and lips, multa sunt suspiria. there are many sighs. si puer cum puellula etc. if a boy with a girl etc. Mandaliet, mandaliet, Mandaliet, mandaliet, min geselle choˇmet niet! my lover does not come! 20 20. Veni, veni, venias 20. Come, come, O come (Chorus) (Chorus) Tui lucent oculi Your eyes shine Veni, veni, venias, Come, come, O come, sicut solis radii, like the rays of the sun, ne me mori facias, do not let me die, sicut splendor fulguris like the flashing of lightning hyrca, hyrce, nazaza, hyrca, hyrce, nazaza, lucem donat tenebris. Ah! which brightens the darkness. Ah! trillirivos! trillirivos!

Tui lucent oculi Your eyes shine Pulchra tibi facies, Beautiful is your face, sicut solis radii. like the rays of the sun. oculorum acies, the gleam of your eye, Mandaliet, mandaliet etc. Mandaliet, mandaliet etc. capillorum series, your braided hair, o quam clara species! what a glorious creature! Vellet deus, vellent dii, May God grant, may the gods grant, quod mente proposui: what I have in mind: Rosa rubicundior, Redder than the rose, ut eius virginea that I may loose lilio candidior, whiter than the lily, reserassem vincula. Ah! the chains of her virginity. Ah! omnibus formosior, lovelier than all others, semper in te glorior! I shall always glory in you! Vellet deus, vellent dii, May God grant, may the gods grant, quod mente proposui. what I have in mind. 21 21. In trutina 21. In the wavering balance Mandaliet, mandaliet etc. Mandaliet, mandaliet etc. (Soprano) (Soprano) In trutina mentis dubia In the wavering balance of my feelings 19 19. Si puer cum puellula 19. If a boy with a girl fluctuant contraria set against each other (Baritone and male chorus) (Baritone and male chorus) lascivus amor et pudicitia. are lascivious love and modesty. Si puer cum puellula If a boy with a girl moraretur in cellula, tarries in a little room, Sed eligo quod video, But I choose what I see, felix coniunctio. happy is their coupling. collum iugo prebeo; and submit my neck to the yoke; Amore suscrescente, Love rises up, ad iugum tamen suave transeo. I yield to the sweet yoke.

36 37 22 22. Tempus est iocundum 22. This is the joyful time Oh, oh, oh etc. Oh, oh, oh etc. (Soprano, baritone, chorus and (Soprano, baritone, chorus and children’s choir) children’s choir) Veni, domicella, Come, my mistress, Tempus est iocundum, This is the joyful time, cum gaudio, with joy, o virgines, O maidens, veni, veni, pulchra, come, come, my pretty, modo congaudete, rejoice with them, iam pereo. I am dying. vos iuvenes. young men. Oh, oh, oh etc. Oh, oh, oh etc. Oh, oh, oh, Oh, oh, oh, totus floreo! I am bursting out all over! 23 23. Dulcissime 23. Sweetest one Iam amore virginali With first love (Soprano) (Soprano) totus ardeo, I am burning all over, Dulcissime, ah, Sweetest one, ah, novus, novus amor est, new, new love is totam tibi subdo me! I give myself to you totally! quo pereo! what I am dying of! Blanziflor et Helena Blanziflor and Helena Mea me confortat I am heartened 24 24. Ave formosissima 24. Hail, most beautiful one promissio, by a promise, (Full chorus) (Full chorus) mea me deportat I am downcast Ave formosissima, Hail, most beautiful one, negatio. by a refusal. gemma pretiosa, precious jewel, ave decus virginum, hail, pride among virgins, Oh, oh, oh etc. Oh, oh, oh etc. virgo gloriosa, glorious virgin, ave mundi luminar, hail, light of the world, Tempore brumali In the winter ave mundi rosa, hail, rose of the world, vir patiens, man is patient; Blanziflor et Helena, Blanziflor and Helena, animo vernali the breath of spring Venus generosa. noble Venus. lasciviens. makes him lust. Fortuna Imperatrix Mundi Fortune, Empress of the World Oh, oh, oh etc. Oh, oh, oh etc. 25 25. O Fortuna 25. O Fortune (Full chorus) (Full chorus) Mea mecum ludit My virginity O Fortuna, O Fortune, virginitas, makes me frisky, velut Luna like the moon mea me detrudit my simplicity statu variabilis, you are changeable, simplicitas. holds me back. 38 39 semper crescis ever waxing Hac in hora So at this hour aut decrescis; and waning; sine mora without delay vita detestabilis hateful life corde pulsum tangite; pluck the vibrating strings; nunc obdurat first oppresses quod per sortem since Fate et tunc curat and then soothes sternit fortem, strikes down the strong man, ludo mentis aciem, as fancy takes it, mecum omnes plangite! everyone weep with me! egestatem, poverty © 1937 Schott Musik International, Mainz Translation: Yehuda Shapiro potestatem and power, © renewed 1965 © Decca International dissolvit ut glaciem. it melts them like ice. Reproduced by permission All rights reserved Sors immanis Fate, monstrous et inanis, and empty, rota tu volubilis, you whirling wheel, status malus, you are malevolent, vana salus well-being is in vain semper dissolubilis, and always fades to nothing, Levon Biss obumbrata shadowed Christian Steiner 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 in health et virtutis and virtue michi nunc contraria is against me, est affectus driven on et defectus and weighed down, semper in angaria. always enslaved.

Barry Banks Christopher Maltman

40 41 You can now purchase Chandos CDs online at our website: www.chandos.net To order CDs by mail or telephone please contact Liz: 0845 370 4994

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Ltd, direct at the address below or via e-mail at [email protected]. With thanks to the Barbican Centre and the City of London

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Recording producer Ralph Couzens Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201 Sound engineers Jonathan Stokes and Neil Hutchinson, Classic Sound Editor Rachel Smith Mastering Ralph Couzens Super Audio Compact Disc (SA-CD) and Direct Stream Digital Recording (DSD) A & R administrator Mary McCarthy DSD records music as a high-resolution digital signal which reproduces the original analogue Recording venue Barbican Centre, London (live); 17 and 18 November 2007 waveform very accurately and thus the music with maximum fidelity. In DSD format the frequency Front cover ‘The Storm – A Flame Fractal’, photograph © Ann Garrett/Arcangel Images response is expanded to 100 kHz, with a dynamic range of 120 dB over the audible range Back cover Photograph of Richard Hickox by Greg Barrett compared with conventional CD which has a frequency response to 20 kHz and a dynamic range Design and typesetting Cassidy Rayne Creative of 96 dB. Booklet editor Finn S. Gundersen Copyright Schott Music GmbH & Co. KG, Mainz A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the p 2008 Chandos Records Ltd other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but © 2008 Chandos Records Ltd will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or Chandos Records Ltd, Colchester, Essex CO2 8HX, England multi-channel DSD layer as appropriate. Printed in the EU

42 43 CHANDOS DIGITAL CHSA 5067 CHANDOS CHANDOS

Carl Orff (1895 –1982)

live recording ORFF: CARMINA BURANA Soloists/LSC/LSO/Hickox 1 - 25 CARMINA BURANA (1936) 60:37 Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis SA-CD, DSD and their logos are trademarks of Sony. TT 60:37 All tracks available Laura Claycomb soprano in stereo and multi-channel Barry Banks tenor This Hybrid CD can be played Christopher Maltman baritone on any standard CD player. Tiffin Boys’ Choir Simon Toyne chorus master p 2008 Chandos Records Ltd London Symphony Chorus c 2008 Chandos Records Ltd Joseph Cullen chorus director Chandos Records Ltd London Symphony Orchestra Colchester • Essex • England Sarah Nemtanu guest leader CHSA 5067 Richard Hickox CHSA 5067

With thanks to the Barbican Centre and the City of London