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Catulo Y Lesbia En La Obra De Carl Orff

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Catulo Y Lesbia En La Obra De Carl Orff Catulo y Lesbia en la obra de Carl Orff Beatriz Cotello [Corresponsal ante la Ópera de Viena, Austria] Resumen: En este artículo se presentan las cantatas creadas por el compositor Génesis de Catulli Carmina alemán Carl Orff sobre material poético de Catulo: los ludi scenici sobre los amo- res de Catulo y Lesbia titulados Catulli arl Orff (1895-1982) Carmina y el concerto scenico Trionfo di Afrodite en el que musicaliza los poemas complementa su obra de Catulo sobre el himeneo (con el aditamento de un epitalamio de Safo y más famosa y conoci- un coro de Eurípides). El artículo ofrece da, Carmina Burana, un análisis del contenido dramático y musical de ambas piezas y se destacan con dos cantatas, Catulli las características de la concepción de la música de Orff. Junto con Carmina Carmina ludi scaenici Burana, las obras forman un tríptico en y Trionfo di Afrodita: que se celebra el triunfo del amor sobre todo el acontecer humano. conforma así un tríp- Palabras clave: Carl Orff - Trionfi - tico sobre el amor humano en diversas Catulo y Lesbia - Afrodita C 1 expresiones. Un artículo anterior que presenta la obra de Orff en términos Catulo and Lesbia as represented by Carl Orff de su búsqueda de “lo elemental” en la música, ofrece ya un análisis de los Abstract: This article deals with two works from the german composer Carl Carmina Burana. Nos referiremos aho- Orff based on Catullus Latin poetry: Catulli Carmina in which he depicts the ra a las cantatas complementarias. love story of Catulo and Lesbia and La idea de poner en música los ver- Trionfo di Afrodite, where he uses two long wedding poems of Catullus and sos de Catulo surge en 1930, cuando material from Safo and Euripides. The reader will find an account of the dramatic Orff pasaba el verano en el lago de Gar- and musical contents of both plays, which da. Según refi ere en sus escritos (1979: show the main traits of Orff’s musical conception. The former cantatas, united 7), en una visita a Sirmione, donde el with his previous Carmina Burana, build up a Tryptichon that Orff named Trionfi padre del poeta habría tenido una casa which celebrates the victory of love above de campo, le acomete una verdadera all things human. Keywords: Catulli Carmina - ludi scaenici - Trionfo di Afrodite. 1 Cfr. Cotello 2002: 145-166. Nº 11 / 2007 / ISSN 1514-3333 (impresa) / ISSN 1851-1724 (en línea), pp. 113-121 113 ‘fi ebre catuliana’, y así como la lectura En la obra se pone de nuevo en evi- de las Carmina Burana había desper- dencia el profundo sentido del drama tado instantáneamente su inspiración, musical de Orff : consigue organizar los conocidos versos de Catulo diez poemas de Catulo en una estruc- Odi et amo, quare id faciam fortasse tura escénico-musical en tres actos –in- requiris troducidos por un coro y sucedidos por un Exodium a modo de conclusión– de Nescio, sed fi eri sentio et excrucior manera dramáticamente consistente. sonaron en su mente como una No fue intención del autor describir forma musical y se puso de inmediato en estos actos una acción evolutiva, a la tarea de componer un acompaña- sino disponer los poemas de manera miento a capella para coro sobre siete de mostrar el surgir y el (súbito) des- de sus poemas, al que le siguieron otros vanecimiento de la pasión amorosa. El tres. Posteriormente se percató de que coro representa a dos generaciones y estas páginas no expresaban de modo pone en evidencia los distintos puntos cabal todo lo que le evocaba el texto de vista sobre el amor: de apasionada poético y las utilizó en cambio como el confi anza en la juventud y de irónico núcleo sobre el cual fundó sus Catulli cinismo en los viejos. Como se verá Carmina ludi scaenici. La cantata tuvo más adelante, Orff les da la razón a los un largo período de gestación: en 1937 primeros: el protagonista debe recono- subieron a escena los primeros himnos cer al fi nal que sigue amando a Lesbia y recién en 1943 se estrenó en su forma a pesar de su traición. defi nitiva. ¶ El texto del coro inicial y del Exo- dium fue redactado en latín por el pro- pio Orff : recordemos que en su época La cantata era usual que los jóvenes aprendieran como estructura escénica el latín y el griego en la escuela secun- daria, y Orff era un experto latinista n estos ludi scaenici el espectador (así como había encantado a sus com- se enfrenta con una pieza teatral, pañeros de clase con la lectura de los Ea su vez presenciada por un coro clásicos griegos). No todo ese introito de jóvenes hombres, mujeres y ancia- es fruto de su imaginación sino que in- nos, que interviene también en el jue- cluye algunas citas. Orff explica en sus go dramático a la manera del coro de la memorias (1979: 92) que en esta parte tragedia griega. Según el plan original de la obra, en lugar de los versos clási- de Orff , los solistas y el coro tendrían cos de Catulo, él usa variantes del latín a su cargo el recitado de las palabras y de Plauto. Gersdorf (1994: 89) destaca la acción dramática sería representada su uso del diminutivo, al estilo del co- con mímica por bai la rines. Posterior- mediante latino, y al respecto aporta mente introdujo modi fi caciones a ese como ejemplo un parlamento entona- esquema y en la actualidad la obra se do por los jóvenes (coro inicial) ofrece en versión concertante). 114 Beatriz Cotello / Cátulo y Lesbia en la obra de Carl Orff O tua blandula, blanda blandicula El lenguaje musical que emplea blanda blandicula, tua labella. ¶ Orff en Catulli Carmina carece del ele- mento folklórico utilizado en los Car- mina Burana –que tanto contribuye a Características generales su popularidad– y resulta un lenguaje de la música más austero, cercano al de sus otras obras sobre textos y temas clásicos. a idea inicial de Orff habría sido La partitura es de gran exigencia para la de una música vocal pura; los solistas y coreutas: algunos pasajes Lopta más tarde por introducir requieren fuerza y gran caudal de voz, un acompañamiento de instrumentos otros deben encararse con suavidad; de percusión a los que agrega el piano es necesario un perfecto ajuste, gran –la orquestación incluye cuatro– tam- sentido del ritmo y una afi nación muy bién utilizado en forma percusiva, por precisa. ¶ considerarlo lo más apropiado para realzar el “stile eccitato” del texto. Desarrollo de la obra En esta obra, así como en las Car- mina Burana, se muestra la riqueza de n la introducción, los Juvenes y los recursos tonales del compositor y Juvenculae intercambian expre- su maestría para poner de relieve el va- Esiones de amor y promesas de lor del ritmo y de la palabra. Para Orff , pertenecerse para siempre: el ritmo no es solamente el pulso de la música: constituye el fundamento de su Eis aiona! estructura formal. Característico en él Eis aiona! es el uso de textos repetitivos (ostinato) tui sum! que se cantan con intensidad creciente, Esta introducción constituye un (crescendi). El genio del compositor lo- ejemplo claro de la forma en que Orff gra que el conjunto de canto coral con trabaja el material musical: al conjunto su acompañamiento instrumental in- fonético eis-aiona le corresponde un dicado más arriba, llegue a sonar como tema musical que se repite muchas una orquesta completa. veces, a diversas alturas y con diver- Como ya se ha apuntado para los sos ritmos, hasta que la tensión se Carmina Burana, Orff construye la hace máxima y se disuelve luego de trama musical por reiteración de los un climax con chasquido de platillos, temas, no por su desarrollo. Las fi gu- acompañado del sonido de castañuelas ras acompañantes del ostinato son ar- y campanillas, con el aditamento de mónicamente simples y precisas: con sordos ruidos de timbales. Los pianos mínimas variaciones logra efectos de intervienen con acordes sostenidos tensión y distensión que llegan a re- con el pedal u oleadas cromáticas. lacionar palabras y música de manera Las exclamaciones se reiteran y sumamente efectiva. van apareciendo nuevas formulaciones Nº 11 / 2007 / ISSN 1514-3333 (impresa) / ISSN 1851-1724 (en línea), pp. 113-121 115 mientras crece la intensidad dramática Intervienen bruscamente los an- y erótica, subrayada por la música. Los cianos jóvenes, cada vez más atrevidos, hacen O res ridicula! el elogio de sus amadas inmensa stultitia. sus ojos tratan de brutos y estúpidos a los O tui oculi, ocelli lucidi ardientes jóvenes y pretenden recor- fulgurant, eff erunt, me velut specula darles que Nihil durare potest tempore perpetuo. su lengua Cum bene Sol nituit, redditur Oceano. O tua lingula, lingula, lingula Decrescit Phoebe, quam modo plena fuit, usque perniciter vibrans ut vipera Venerum feritas saepe fi t aura levis.3 Las doncellas se muestran, primero El acompañamiento musical de recatadas esta estrofa es austero y sombrío, en el estilo recitativo de los creadores de la cave, cave, cave, cavete ópera: intermedio entre el sonido de la luego amenazantes palabra y del canto cave meam viperam Como ejemplo de que la pasión nisi te mordet mal termina, los ancianos invitan a los jóvenes presenciar las desdichas de Sigue un intercambio de reclamos: Catulo en su amor por Lesbia y se da ellos exigen: muérdeme; ellas, más tier- inicio a la acción escénica propiamente nas, piden: bésame. dicha que, según indicaciones de Orff , morde me se organiza alrededor de una columna basia me central mientras en el foro se ubican la el tenor erótico de texto y música taberna, donde alternan los amantes, crece cada vez más: juvenes y juvenculae la casa de Lesbia, las de las cortesanas declaran muy abiertamente que sus ma- Ipsitilla y Ammiana y la de Celio, el 4 nos están prontas a acariciar y prensar amigo (desleal) de Catulo.
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