CARMINA BURANA Live Recording

SUPER AUDIO CD Carl Orff CARMINA BURANA live recording

Laura Claycomb soprano Barry Banks tenor London Symphony Chorus Christopher Maltman baritone London Symphony Orchestra CHSA 5067 Richard Hickox

CHSA 5067 Booklet Cover.indd 1 21/8/08 16:40:45 © Lebrecht Music & Arts Photo Library

Carl Orff, 1936

CHSA 5067 Booklet.indd 2 21/8/08 16:41:28 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 O Fortuna. Pesante – [ ] – 2:36 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

CHSA 5067 Booklet.indd 3 21/8/08 16:41:28 II. In Taberna 10:38 11 11 Estuans interius. Allegro molto – 2:28 12 12 Olim lacus colueram. [ ] – 3:35 13 13 Ego sum abbas. [ ] – 1:29 14 14 In taberna quando sumus. [ ] 3:05 III. Cour d’amours 18:31 15 15 Amor volat undique. Largo – Rubato flessibile – [ ] – A tempo come prima – 3:16 16 16 Dies, nox et omnia. [ ] – 2:07 17 17 Stetit puella. [ ] – 1:49 18 18 Circa mea pectora. [ ] – Più mosso – Ancora più mosso – Sempre accelerando – Come prima – Più mosso – Ancora più mosso – Sempre accelerando – Molto appassionato – Più mosso – Ancora più mosso – Sempre accelerando – 2:04 19 19 Si puer cum puellula. Allegro buffo – Allegro molto – 0:58 20 20 Veni, veni, venias. Allegro – 1:01 21 21 In trutina. [ ] – 2:17

CHSA 5067 Booklet.indd 4 21/8/08 16:41:28 22 22 Tempus est iocundum. Allegro molto – Più lento – Allegro molto – Come prima – Allegro molto – Ancora più lento di prima – 2:22 23 23 Dulcissime. [ ] – 0:43 Blanziflor et Helena 24 24 Ave formosissima. [ ] – 1:50 Fortuna Imperatrix Mundi 3 :11 25 25 O Fortuna. Pesante – [ ] 3 :11 TT 60:37

Laura Claycomb soprano Barry Banks tenor Christopher Maltman baritone Tiffin Boys’ Choir Simon Toyne chorus master London Symphony Chorus Joseph Cullen chorus director London Symphony Orchestra Sarah Nemtanu guest leader Richard Hickox

CHSA 5067 Booklet.indd 5 21/8/08 16:41:28 London Symphony Chorus

soprano alto Suleen Syn Vicky Collis*§ Sarah Baird§ Claire Trocmé Emma Craven§ Sarah Biggs§ Judith Youdell Eileen Fox Elizabeth Boyden Mimi Zadeh§ Kate Gardner§ Sarah Castleton§ Fulva Giust Glynis Charrot§ tenor Jane Goddard Rosie Chute David Aldred Deborah Grant Yvonne Cohen Paul Allatt Joanna Gueritz§ Genevieve Cope§ Robin Anderson§ Carolin Harvey Janette Daines§ Conway Boezak 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 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

CHSA 5067 Booklet.indd 6 21/8/08 16:41:28 bass Robin Hall David Peirson Joseph Bahoshy Bryan Hammersley Alan Rochford§ Andy Chan Owen Hanmer*§ Tim Sanderson Hubert Chan§ Anthony Howick*§ Nicholas Seager§ Stephen Chevis§ Julian Jarvis John Wareing Stewart Easton Alex Kidney§ Nicholas Weekes§ Alastair Forbes§ Gregor Kowalski§ Anthony Wilder Robert French Georges Leaver* Robert Garbolinski*§ Keith Montgomery§ *member of Council John Graham§ Bill Pargeter§ §semi-chorus Laurence Mullenders

Laura Claycomb

CHSA 5067 Booklet.indd 7 21/8/08 16:41:30 Carl Orff: Carmina burana

Everything I have written to date, and of Herbert von Karajan, then enjoying his which you have (unfortunately) printed, meteoric rise to fame. The interpretation can be destroyed. With Carmina burana, by Karajan in particular was singled out by my collected works begin! critics for successfully balancing the work’s So Carl Orff (1895 −1982) is reputed to characteristic energy with moments of have declared to his publisher at around haunting tenderness, an achievement that the time of the first performance ofCarmina won him Orff’s personal approval. The first burana at the Städtische Bühnen in Frankfurt performance of the work outside Germany am Main on 8 June 1937, when the work took place at Teatro alla Scala, Milan in was conducted by Bertil Wetzelsberger October 1942, and in the United States it in a staged production directed by Oscar came to be championed by conductors of Wälterlin from designs by Ludwig Sievert. the stature of Leopold Stokowski and Fritz Conceiving this work, as he conceived almost Reiner. all his major works, as a pageant was the The premiere in Frankfurt in 1937 formed logical culmination of the strong interest part of what proved to be the final annual in such theatrical presentations which festival of the Allgemeiner Deutscher Orff had fostered since his first venture Musikverein (General German Music Society), of this kind, a successful staged version an organisation founded by Franz Liszt in of the St Luke Passion (once attributed to the mid-nineteenth century. In 1936 the J.S. Bach) at Munich in 1932. Carmina burana Nazi propaganda minister Joseph Goebbels proved to be an instant success, with Hans had forced the president of the politically Rosbaud mounting a performance during controlled Reichsmusikkammer (Reich his tenure as music director of Westphalian Chamber of Music), Peter Raabe, to absorb Münster in the 1939/40 season, and Karl the Society fully into the RMK’s operations, Böhm introducing it to Dresden audiences evidently so that it could be easily abolished in October 1940; both concert and in the following year. Raabe was a relatively staged performances followed in Berlin liberal musician with modernist leanings, who during 1941 under the musical direction favoured the kind of mild experimentation

CHSA 5067 Booklet.indd 8 21/8/08 16:41:30 typified by Orff’s work, and it was partly the Bavarian Alps early in the nineteenth 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 official approbation for his music came in goliards – hedonistic students and travelling 1942 when Orff was awarded an RMK prize. monks who celebrated their riotous pursuits Nonetheless, Orff was generally regarded in poetry of a suitably bawdy and profane with suspicion by the fascists and he was nature. The twenty-four ‘cantiones profanae’ considerably relieved when in July 1944 he chosen by Orff from Schmeller’s collection received a reassurance from a Nazi official were translated and paraphrased by Michel that his work had been personally considered Hofmann and Wolfgang Schadewalt, and by Goebbels and deemed to be acceptable. the composer set them to music for three After the Second World War, Orff would suffer vocal soloists, three choirs (including a boys’ from criticisms that he had been complicit chorus) and a large orchestra featuring triple with the regime; in fact, he was of part-Jewish woodwind, two pianos and no fewer than five descent, and had tried to remain persona percussionists. The texts are organised into grata with his fascist masters partly for three principal sections: (I) ‘In Spring’ and ‘On reasons of personal survival. His somewhat the Green’; (II) ‘In the Tavern’; and (III) ‘The tarnished reputation was exacerbated by his Court of Love’ and ‘Blanziflor and Helena’. disingenuous behaviour when questioned Orff framed his cantata with two statements by Allied occupying forces immediately after of a powerfully epigrammatic invocation of the end of the war, when he deliberately Fortune (‘O Fortuna, velut Luna’), as it was this downplayed his involvement with the Nazi text and a striking illustration of the Wheel of Party. Fortune which had first caught his attention The idea for Carmina burana came to Orff when he read Schmeller’s book. in 1935 when he encountered an edition A major influence on Orff’s style was of mediaeval songs (carmina), edited by the music of Igor Stravinsky, with which the poet Johann Schmeller. Schmeller’s Orff closely identified, partly because both handsome book, published in 1847, included composers in the 1920s and 1930s had several hundred texts in various languages, attempted to achieve a ritualistic style drawn from manuscripts discovered in the inspired by Greek tragedy. Orff’s musical historic monastery of Benediktbeuern in language in Carmina burana owes much to

CHSA 5067 Booklet.indd 9 21/8/08 16:41:30 Stravinsky’s example in its heavy reliance eccentric portrayal of the doomed swan in on motoric ostinato patterns (ideal for the ‘Olim lacus colueram’ (No. 12). dancing and physical movement of the In spite of its occasionally derivative stylised stage presentation for which the nature, however, the score possesses a score was designed), in certain rhythmic and gloriously infectious vulgarity interspersed harmonic characteristics, and in a fondness with moments of genuine beauty which has for percussive sonorities. In particular, the assured it an unassailable position as one combination of pianos and percussion, which of the most popular of all twentieth-century is prominent in the work’s instrumentation choral works. In its turn it has spawned and is often used in isolation to accompany many direct imitations – not least in the rehearsals and even performances in the world of film music, where several modern absence of an orchestra, was pioneered by Hollywood composers have reported it Stravinsky in his ballet Les Noces (1914 – 23), to be the classical score most frequently which used an ensemble of four pianos used by studios in preparing ‘temp tracks’ and percussion directly imitated by Orff in (i.e. temporary music tracks intended to his less well-known Latin cantata Catulli demonstrate to a composer the kind of music carmina (1930, revised 1943). Unmistakable envisaged for films in progress), with the emulations of Les Noces, which was itself a result that echoes from its distinctive idiom thrilling danced celebration of pagan ritual, are commonplace in soundtracks in a wide are heard in Carmina burana in Nos 18, 20 variety of modern film genres. and 22. Stravinsky’s earlier ballet Petrushka © 2008 Mervyn Cooke (1911), again concerned with pagan festivities, is directly recalled in Nos 3 and 14, and the Russian composer’s Symphony of Psalms Born in Texas and educated at Southern (1930) colours Orff’s setting of No. 18 and Methodist University in Dallas and at the two framing ‘Fortuna’ choruses. In his the San Francisco Opera Center, Laura resourceful sense of musical parody Orff Claycomb excels in adventurous repertoire, reveals yet another conceptual link with ranging from baroque music and bel canto Stravinsky, whether imaginatively reworking masterpieces to contemporary compositions, Verdi’s operatic idiom in a pastiche baritone her delicacy, refinement and theatricality aria (No. 11) or creating wonderfully quirky making her one of the foremost lyric sound worlds such as the tenor soloist’s coloraturas of her generation. She made

CHSA 5067 Booklet.indd 10 21/8/08 16:41:30 her European debut at the Grand Théâtre royal de la Monnaie, The Santa Fe Opera de Genève in 1994 as Giulietta in Bellini’s and Teatro Communale di Bologna amongst ICapuleti e i Montecchi. In 1997 she made her others. His roles include Lindoro (L’italiana debut at the Salzburg Festival as Amanda in in Algeri), Nemorino (L’elisir d’amore), Don Ligeti’s Le Grand Macabre under Esa-Pekka Ramiro (La Cenerentola), Oreste (Ermione), Salonen, and in 1998 at Teatro alla Scala, Tom Rakewell, Tamino, Don Narciso (Il turco singing the title role in Donizetti’s Linda in Italia), Belfiore and Libenskof Il ( viaggio di Chamounix. She has appeared in opera a Reims), L’Astrologue (Le Coq d’or), Don houses across the globe in a repertoire Ottavio, and Uberto (La donna del lago). extending from the works of Handel and the As a concert artist Barry Banks has sung heroines of Donizetti and Bellini to the role Rossini’s Petite messe solennelle with the Royal of Queen Wealtheow in the world premiere Philharmonic Orchestra under Daniele Gatti, of Elliot Goldenthal’s Grendel. As a concert Jaquino (Fidelio) with the City of Birmingham artist of distinction Laura Claycomb performs Symphony Orchestra under Walter Weller, with conductors of international rank, such as Bruckner’s Requiem with the Scottish Chamber Pierre Boulez, Sir Colin Davis, Valery Gergiev, Orchestra under Sir Charles Mackerras, and Emmanuelle Haïm, Richard Hickox, Sir Roger Rossini’s Armida at the Edinburgh Festival Norrington, Esa-Pekka Salonen, Michael under Carlo Rizzi. Elsewhere, he has performed Tilson Thomas and Frans Welser-Möst. Her Britten’s War Requiem with the Orchestre wide-ranging discography includes the role philharmonique de Strasbourg under Jan of Mrs Page in Vaughan Williams’s Sir John in Latham-Koenig, Rossini’s Ermione in concert Love for Chandos. at Carnegie Hall, and Bellini’s I puritani and Donizetti’s Linda di Chamounix at the A graduate of the Royal Northern College of Caramoor Festival. Barry Banks’s discography Music, Barry Banks has established himself includes numerous recordings for Chandos. as one of today’s finest interpreters of the Italian bel canto repertoire. He is much in Winner of the Lieder Prize at the 1997 Cardiff demand on the international opera stage, Singer of the World Competition, Christopher performing at The Royal Opera, Covent Garden, Maltman read biochemistry at Warwick The Metropolitan Opera, Opéra national de University and studied singing at the Royal Paris, English National Opera, Théâtre musical Academy of Music. He recently made his du Châtelet, the Salzburg Festival, Théâtre debut at The Metropolitan Opera, New York

CHSA 5067 Booklet.indd 11 21/8/08 16:41:30 as Harlekin (Ariadne auf Naxos). At The Royal It has given the premiere performances Opera, Covent Garden he created the role of of works by, among others, John Gardner, Sebastian in the world premiere of Thomas Christopher Brown, Elizabeth Poston Adès’s The Tempest and has also sung and Antony Pitts, recorded widely, and Guglielmo (Così fan tutte), Ramiro (L’Heure undertaken frequent concerts and tours in espagnole), Malatesta (Don Pasquale) and England and abroad. Thus, the Choir has Papageno. His roles at the Glyndebourne worked with all the London orchestras, Festival include Ned Keene (Peter Grimes), has an annual partnership with the London Sid (Albert Herring), Figaro (Le nozze di Mozart Players and performs regularly with Figaro) and Achilla (Giulio Cesare). At the The Royal Opera, Covent Garden; it has also Bayerische Staatsoper, Munich he has sung appeared with the Bolshoi Opera and at Tarquinius (The Rape of Lucretia), Marcello the Spoleto Festival. Tiffin School is a state (La bohème) and Albert (Werther). An grammar school and specialist Performing acclaimed Billy Budd, he has sung the role Arts College in Kingston-upon-Thames. at Welsh National Opera, Teatro Regio in Turin, Almost all the 1,200 boys in the school play in Seattle and in Munich. He has performed a musical instrument, and more than 100 Don Giovanni at the Salzburg Festival and at boys study music at advanced levels. The The Sage, Gateshead, and elsehwere appeared school has been closely connected with the as Count Almaviva (Le nozze di Figaro), Figaro formation and development of the National (Il barbiere di Siviglia) and Aeneas (Dido Youth Music Theatre. Several members of and Aeneas). In concert he has worked with the Choir have gained choral scholarships to conductors such as Christoph von Dohnányi, Oxford and Cambridge, singing in the choirs John Adams, Sir Roger Norrington, Sir Simon of King’s College, St John’s College and New Rattle, Nikolaus Harnoncourt, Sir John Eliot College. Gardiner, Esa-Pekka Salonen and Kurt Masur. 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 by commissioning works from Sir John Since its foundation in 1957, the Tiffin Tavener, Sir Peter Maxwell Davies, Michael Boys’ Choir has been one of the few state Berkeley and Jonathan Dove. In April 2008, school choirs to have been continually at the it premiered James MacMillan’s St John forefront of the choral music scene in Britain. Passion with the London Symphony Orchestra

CHSA 5067 Booklet.indd 12 21/8/08 16:41:30 and Sir Colin Davis at the Barbican Centre. Harding joined Michael Tilson Thomas as The Orchestra and Chorus are regular Principal Guest Conductor. At its home at partners and worked under Sir Colin Davis the Barbican Centre, the Orchestra promotes on his notable Berlioz series, including most more concerts than any other classical music recently Benvenuto Cellini. Among many organisation in London. Recordings take it other works, they have recorded Sibelius’s to a global audience of millions: as well as in Kullervo symphony, which received the award films such asStar Wars: Revenge of the Sith for Best Choral Recording from BBC Music and Harry Potter and the Goblet of Fire, you magazine in 2007, and Verdi’s Falstaff, which can hear the Orchestra on radio, television, won a Grammy for Best Opera Recording. and on computer games. LSO Discovery, the The Chorus also took part in the performance Orchestra’s outreach programme, facilitates and recording of Valery Gergiev’s complete music education, using new technology Mahler cycle with the London Symphony and building links with the local community Orchestra. Its extensive discography includes and in schools. The pioneering spirit was many recordings with Richard Hickox for strong even in the Orchestra’s infancy. The Chandos, most recently of Vaughan Williams’s London Symphony Orchestra was the first A Sea Symphony. In 2007, their performance British orchestra to tour abroad (1906) of Haydn’s Die Schöpfung under Sir Colin and the first European orchestra to travel Davis was considered by Seen and Heard to to America (1912). Since its inception, the be the performance of the year. The London Orchestra has given literally hundreds of first Symphony Chorus appears regularly at all performances and commissioned some of the the major London venues, tours extensively most important music ever written. Always throughout Europe and has visited Israel, outspoken and inventive, the Orchestra has Australia, the Far East and the USA. led the way in orchestral development and www.lsc.org.uk initiative.

The London Symphony Orchestra is riding One of Britain’s most gifted and versatile the crest of a wave. In January 2007 Sir Colin conductors, Richard Hickox CBE is Music Davis became the President of the Orchestra, Director of Opera Australia, and was Principal only the fifth in its history, and Valery Conductor of the BBC National Orchestra Gergiev took over as Principal Conductor. of Wales from 2000 until 2006 when he At the start of the 2006/07 season, Daniel became Conductor Emeritus. He founded

CHSA 5067 Booklet.indd 13 21/8/08 16:41:30 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. 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 Collegium Musicum 90. Radio Symphony Orchestra and New York He regularly conducts the major orchestras Philharmonic. in the UK and has appeared many times at His phenomenal success in the recording the BBC Proms and at the Aldeburgh, Bath studio has resulted in more than 280 and Cheltenham festivals among others. recordings, including most recently cycles of With the London Symphony Orchestra at the orchestral works by Sir Lennox and Michael Barbican Centre he has conducted a number Berkeley and Frank Bridge with the BBC of semi-staged operas, including Billy Budd, National Orchestra of Wales, the symphonies Hänsel und Gretel and Salome. With the by Vaughan Williams with the London Bournemouth Symphony Orchestra he gave Symphony Orchestra, and a series of operas the first ever complete cycle of Vaughan by Britten with the City of London Sinfonia. Williams’s symphonies in London. In the He has received a Grammy (for Peter Grimes) course of an ongoing relationship with the and fiveGramophone Awards. Richard Hickox Philharmonia Orchestra he has conducted was awarded a CBE in the Queen’s Jubilee Elgar, Walton and Britten festivals at the Honours List in 2002, and has received South Bank and a semi-staged performance many other awards, including two Royal of Gloriana at the Aldeburgh Festival. Philharmonic Society Music Awards, the first Apart from his activities at the Sydney ever Sir Charles Groves Award, the Evening Opera House, he has enjoyed recent Standard Opera Award, and the Association engagements with The Royal Opera, Covent of British Orchestras Award.

CHSA 5067 Booklet.indd 14 21/8/08 16:41:30 Carl Orff: Carmina burana

Alles, was ich bisher geschrieben habe von Herbert von Karajan, der damals gerade und Sie leider gedruckt haben, können seinen kometenhaften Aufstieg erlebte. Sie nun einstampfen. Mit Carmina burana Besonders Karajans Interpretation wurde von beginnen meine gesammelten Werke! der Kritik dafür gelobt, dass sie erfolgreich So soll sich Carl Orff (1895 −1982) um die der charakteristischen Energie des Werks Zeit der Uraufführung der Carmina burana Momente sehnsuchtsvoller Empfindsamkeit geäußert haben; das Werk hatte seine Premiere entgegensetzte, was ihm Orffs persönliches am 8. Juni 1937 an den Städtischen Bühnen in Wohlwollen einbrachte. Die erste Aufführung Frankfurt am Main unter der Leitung von Bertil der Komposition außerhalb Deutschlands fand Wetzelsberger in einer von Oscar Wälterlin im Oktober 1942 am Mailänder Teatro alla inszenierten Bühnenfassung, ausgestattet Scala statt, und in den USA setzten sich so von Ludwig Sievert. Dieses Werk wie fast bedeutende Dirigenten wie Leopold Stokowski alle seiner bedeutenden Kompositionen als und Fritz Reiner dafür ein. Spektakel zu konzipieren, war der logische Die Uraufführung 1937 in Frankfurt war Höhepunkt von Orffs intensivem Interesse Teil der, wie sich erweisen sollte, letzten an solchen theatralischen Darbietungen, das jährlichen Festspiele des Allgemeinen er seit seinem ersten Versuch dieser Art Deutschen Musikvereins, der um die Mitte des gepflegt hatte, nämlich der 1932 in München neunzehnten Jahrhunderts von Franz Liszt erfolgreich aufgeführten Bühnenfassung der begründet worden war. Im Jahre 1936 hatte (einst J.S. Bach zugeschriebenen) Lukaspassion. NS-Propagandaminister Joseph Goebbels 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

CHSA 5067 Booklet.indd 15 21/8/08 16:41:30 Experimentierens bevorzugte, für das Orffs im alten Kloster Benediktbeuern in den Schaffen stand, und es ist teils auf seinen bayerischen Alpen aufgefunden worden Einfluss zurückzuführen, dass Orffs Name auf waren. (Burana ist das lateinische Adjektiv zu der Liste jener Komponisten verblieb, deren Beuren bzw. Benediktbeuern.) Die lebhaften Ausstrahlung im deutschen Rundfunk erlaubt und farbenfrohen Lieder wurden von den war; offizielle Zustimmung für Orffs Musik wurde Goliarden gesungen – hedonistischen ihm 1942 zuteil, als ihm ein Preis der RMK Studenten und wandernden Mönchen, die verliehen wurde. Nichtsdestoweniger begegneten ihre Ausschweifungen in entsprechend die Nazis Orff allgemein mit Misstrauen, und unzüchtigen und profanen Gedichten feierten. er war ausgesprochen erleichtert, als ihm ein Die vierundzwanzig “cantiones profanae”, die Parteifunktionär im Juli 1944 versicherte, Orff aus Schmellers Sammlung auswählte, dass sein Schaffen von Goebbels persönlich wurden von Michel Hofmann und Wolfgang begutachtet und für akzeptabel erklärt worden Schadewalt übersetzt und paraphrasiert, um war. Nach dem Zweiten Weltkrieg sollte Orff der dann vom Komponisten mit Musik für drei Kritik ausgesetzt sein, er habe mit dem Regime Gesangssolisten, drei Chöre (einschließlich kollaboriert; tatsächlich war er teils jüdischer eines Knabenchors) und großes Orchester mit Abstammung und hatte sich unter anderem aus dreifach besetzten Holzbläsern, zwei Klavieren Gründen der Selbsterhaltung bemüht, persona und nicht weniger als fünf Schlagzeugern grata bei den faschistischen Herrschern zu versehen zu werden. Die Texte sind in drei bleiben. Sein eher befleckter Ruf wurde noch Hauptgruppen aufgeteilt: (I) “Im Frühling” und dadurch beeinträchtigt, dass er bei Befragungen “Auf dem Anger”; (II) “In der Schenke”; (III) “Der durch die alliierten Besatzungsmächte gleich Liebeshof” und “Blanziflor und Helena”. Orff nach dem Krieg seine Beziehungen zur NSDAP umrahmte seine Kantate mit zwei Darbietungen unaufrichtig herunterzuspielen versuchte. einer eindringlich epigrammatischen Anrufung Die Idee zu Carmina burana kam Orff der Glücksgöttin (“O Fortuna, velut Luna”), im Jahre 1935, als er auf eine Ausgabe denn dieser Text hatte, zusammen mit einer mittelalterlicher Lieder (carmina) stieß, eindrucksvollen Illustration des Glücksrads, herausgegeben von dem Dichter Johann beim Lesen von Schmellers Buch zuerst seine Schmeller. Schmellers 1847 veröffentlichtes, Aufmerksamkeit erregt. schön aufgemachtes Buch enthielt mehrere Wesentlichen Einfluss auf Orffs Stil hatte hundert Texte in verschiedenen Sprachen, die Musik Igor Strawinskys, mit der sich Orff die Anfang des neunzehnten Jahrhunderts stark identifizierte, zum Teil deshalb, weil sich

CHSA 5067 Booklet.indd 16 21/8/08 16:41:30 beide Komponisten in den 1920er- und Orffs Satz der Nr. 18 und der beiden “Fortuna”- 30er-Jahren darum bemüht hatten, einen von der Chöre. In seinem einfallsreichen Sinn für griechischen Tragödie inspirierten ritualistischen musikalische Parodie verrät Orff eine weitere Stil zu entwickeln. Orffs musikalische konzeptionelle Beziehung zu Strawinsky, sei es Ausdrucksform in Carmina burana verdankt in seiner phantasievollen Umsetzung von Verdis dem Vorbild Strawinskys insofern einiges, als Opernidiom im Pasticcio einer Baritonarie (Nr. 11) sie sich stark auf motorische Ostinatoschemata oder in der Erfindung wunderbar abwegiger stützt (ideal für die Tänze und den körperlichen Klangwelten wie in der exzentrischen Darstellung Ausdruck der stilisierten Bühneninszenierung, des zum Verzehr bestimmten Schwans durch den auf welche die Partitur ausgerichtet war), Tenorsolisten in “Olim lacus colueram” (Nr. 12). außerdem in Bezug auf gewisse rhythmische und Doch trotz ihrer gelegentlich epigonalen harmonische Charakteristika und eine Vorliebe Natur verfügt die Partitur über eine wundervoll für schlagzeugbetonte Klänge. Insbesondere die ansteckende Vulgarität, durchsetzt mit Kombination von Klavieren und Schlagzeug, die Momenten wahrer Schönheit, die ihr eine in der Instrumentierung des Werks eine große unanfechtbare Position als eines der populärsten Rolle spielt und oft für sich genommen als Chorwerke des zwanzigsten Jahrhunderts Probenbegleitung und sogar für Aufführungen gesichert hat. Und die Komposition hat ihrerseits ohne Orchester benutzt wird, hatte Strawinsky zahlreiche direkte Imitationen hervorgebracht – in seinem Ballett Les Noces (1914 –1923) nicht zuletzt im Bereich der Filmmusik, wo eingeführt; es brachte ein Ensemble von vier mehrere Hollywood-Komponisten unserer Klavieren und Schlagzeug zum Einsatz, das Orff Zeit es als die klassische Partitur bezeichnet in seiner weniger bekannten lateinischen Kantate haben, die mit am häufigsten von Studios als Catulli carmina (1930, revidiert 1943) direkt “temp track” genutzt wird (d.h. als temporäre imitierte. Unverwechselbare Nachahmungen Tonspur, die Komponisten Hinweise darauf von Les Noces, selbst eine mitreißende, in Tanz geben soll, welche Art von Musik man sich für umgesetzte Feier heidnischer Rituale, sind in Vorbereitung befindliche Filme vorstellt), in Carmina burana in den Nummern 18, 20 was dazu geführt hat, dass Anklänge an das und 22 zu hören. Strawinskys früheres Ballett charakteristische Idiom des Werks in allen Petruschka (1911), das sich ebenfalls um möglichen modernen Filmmusiken zu hören sind. heidnische Feiern dreht, klingt in den Nummern 3 und 14 direkt an, und die Psalmensinfonie des © 2008 Mervyn Cooke russischen Komponisten von 1930 beeinflusste Übersetzung: Bernd Müller

CHSA 5067 Booklet.indd 17 21/8/08 16:41:31 Carl Orff: Carmina burana

Tout ce que j’ai écrit jusqu’à aujourd’hui, qui faisait alors une ascension fulgurante et que vous avez (malheureusement) vers la célébrité. La critique apprécia imprimé, peut être détruit. Avec Carmina particulièrement son interprétation pour burana débutent mes œuvres complètes! l’équilibre qu’il avait su trouver entre l’énergie C’est ce qu’aurait déclaré Carl Orff caractéristique de l’œuvre et des moments (1895 −1982) à son éditeur, à l’époque de la d’une tendresse poignante, ce qui lui valut création des Carmina burana aux Städtische aussi l’approbation personnelle d’Orff. La Bühnen de Francfort, le 8 juin 1937; l’œuvre, première audition en dehors d’Allemagne eut dirigée par Bertil Wetzelsberger, était mise lieu au Teatro alla Scala de Milan en octobre en scène par Oscar Wälterlin à partir de 1942, et aux États-Unis l’œuvre fut bientôt croquis de Ludwig Sievert. Il était logique défendue par des chefs de la stature de qu’Orff ait conçu Carmina burana, à l’instar Leopold Stokowski ou de Fritz Reiner. de pratiquement toutes ses œuvres les plus La première francfortoise, en 1937, faisait importantes, comme un spectacle historique, partie de ce qui fut en définitive le dernier compte tenu de son grand intérêt pour ce festival annuel de l’Allgemeiner Deutscher type de présentations théâtrales depuis sa Musikverein (Société générale de musique première tentative selon cette approche, une d’Allemagne), organisme fondé par Franz version scénique réussie de la Passion selon Liszt au milieu du dix-neuvième siècle. En Saint Luc (autrefois attribuée à J.S. Bach), 1936, le ministre nazi de la Propagande, à Munich en 1932. Le succès fut immédiat: Joseph Goebbels, avait contraint Peter Raabe, Hans Rosbaud monta Carmina burana alors président de la Reichsmusikkammer (Chambre qu’il était directeur musical de Münster, en de musique du Reich) contrôlée par le Westphalie, au cours de la saison 1939 – gouvernement, à fusionner la Société dans les 1940, et Karl Böhm la présenta au public activités de la RMK, manifestement de façon de Dresde en octobre 1940; elle fut ensuite à pouvoir aisément la dissoudre un an plus donnée à Berlin pendant l’année 1941, aussi tard. Raabe était un musicien relativement bien en version scénique qu’en concert, progressiste, de tendance moderniste, qui sous la baguette de Herbert von Karajan, appréciait le genre d’expérimentations

CHSA 5067 Booklet.indd 18 21/8/08 16:41:31 modérées représentées par l’œuvre d’Orff, bavaroises, au début du dix-neuvième siècle. 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 être diffusés à la radio en Allemagne; la entonnées par les goliards – étudiants reconnaissance de la musique d’Orff par les hédonistes et moines ambulants qui autorités arriva en 1942, lorsqu’un prix de la célébraient leur existence dissipée dans une RMK lui fut décerné. Il n’en était pas moins poésie paillarde et profane à souhait. Les considéré avec suspicion par les fascistes et vingt-quatre “cantiones profanae” choisies fut considérablement soulagé, en juillet 1944, par Orff dans le recueil de Schmeller furent d’apprendre d’un fonctionnaire nazi que ses traduites et paraphrasées par Michel compositions avaient été examinées par Hofmann et Wolfgang Schadewalt, et le Goebbels lui-même, et jugées acceptables. compositeur les mit en musique pour trois Après la Seconde Guerre mondiale, on lui chanteurs solistes, trois chœurs (dont un reprocha d’avoir été complice du régime; chœur de garçons) et un grand orchestre en fait, il était en partie d’origine juive, et comprenant les bois par trois, deux pianos, il était essentiel pour lui de ne pas s’attirer et pas moins de cinq percussionnistes. la défaveur de ses maîtres fascistes s’il Les textes sont organisés en trois sections voulait survivre. Sa réputation, quelque peu principales: (I) “Au printemps” et “Sur le ternie, fut encore salie par son manque de pré”; (II) “À la taverne”; (III) “Cour d’amours” franchise lors de son interrogatoire par les et “Blanziflor et Helena”. Orff a encadré sa forces d’occupation alliées, juste après la cantate de deux occurrences d’une invocation guerre, puisqu’il minimisa délibérément ses puissamment épigrammatique à la Fortune accointances avec le parti nazi. (“O Fortuna, velut Luna”), car c’est ce texte L’idée des Carmina burana vint à Orff et une illustration saisissante de la roue de la en 1935, lorsqu’il lut pour la première fois Fortune qui avaient, les premiers, attiré son des chansons du Moyen Âge (carmina) dans attention dans le livre de Schmeller. une édition du poète Johann Schmeller. Ce L’une des influences essentielles sur beau livre publié en 1847 incluait plusieurs l’écriture d’Orff fut la musique d’Igor centaines de textes dans différentes langues, Stravinsky, à laquelle il s’identifiait tirés de manuscrits découverts au monastère étroitement, en partie parce que dans les historique de Benediktbeuern, dans les Alpes années 1920 et 1930 les deux compositeurs

CHSA 5067 Booklet.indd 19 21/8/08 16:41:31 avaient essayé de créer un style rituel inspiré compositeur. Par son inventivité en termes 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 beaucoup à l’exemple du musicien russe reprenne avec créativité le style opératique de par ses nombreux ostinatos motoriques de Verdi dans un pastiche d’air de baryton (idéaux pour les danses et mouvements de (no 11), ou qu’il imagine un univers sonore la présentation scénique stylisée prévue merveilleusement étrange comme dans à l’origine pour cette partition), certaines “Olim lacus colueram” (no 12), où le ténor caractéristiques rythmiques et harmoniques, solo incarne de manière insolite un cygne et une prédilection pour les sonorités condamné à la rôtissoire. percussives. Stravinsky a notamment été Malgré sa nature imitative par endroits, l’un des premiers à employer, dans son la partition possède une vulgarité ballet Les Noces (1914 –1923) – écrit pour jubilatoire et contagieuse entrecoupée de quatre pianos et percussion, formation passages d’une véritable beauté, ce qui reprise telle quelle par Orff dans sa cantate lui assure une position imprenable parmi latine moins connue Catulli carmina (1930 les œuvres chorales les plus populaires révisée en 1943) –, la combinaison pianos et de tout le vingtième siècle. Elle a à son percussion qui occupe une place de premier tour engendré de nombreuses copies – au plan dans l’instrumentation des Carmina cinéma notamment, plusieurs compositeurs burana, et que l’on utilise souvent seule contemporains d’Hollywood ayant affirmé pour accompagner les répétitions ou même que c’était la partition classique la plus en concert, en l’absence d’un orchestre. Les fréquemment utilisée dans les studios numéros 18, 20 et 22 sont indubitablement pour préparer des “temp tracks” (bandes- inspirés par Les Noces, qui constituent une son temporaires servant à montrer à un célébration dansée électrisante d’un rituel compositeur le type de musique envisagé païen; les numéros 3 et 14 rappellent pour pour un film en cours), si bien qu’il est leur part directement Petrouchka (1911), fréquent de retrouver des échos de son ballet antérieur de Stravinsky lui aussi centré langage distinctif dans une grande variété de sur une fête païenne; enfin le numéro 18 films récents. et les deux invocations à la Fortune, au début et à la fin, sont influencés par la © 2008 Mervyn Cooke Symphonie des psaumes (1930) du même Traduction: Josée Bégaud

CHSA 5067 Booklet.indd 20 21/8/08 16:41:31 Carmina burana Carmina burana

Fortuna Imperatrix Mundi Fortune, Empress of the World 1 1. O Fortuna 1. O Fortune (Chorus) (Chorus) O Fortuna, O Fortune, velut Luna like the moon statu variabilis, you are changeable, semper crescis ever waxing aut decrescis; and waning; vita detestabilis hateful life nunc obdurat first oppresses et tunc curat and then soothes ludo mentis aciem, as fancy takes it, egestatem, poverty potestatem and power, dissolvit ut glaciem. it melts them like ice.

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

CHSA 5067 Booklet.indd 21 21/8/08 16:41:31 Sors salutis Fate in health et virtutis and virtue michi nunc contraria is against me, est affectus driven on et defectus and weighted down, semper in angaria. always enslaved. Hac in hora So at this hour sine mora without delay corde pulsum tangite; pluck the vibrating strings; quod per sortem since Fate sternit fortem, strikes down the strong man, mecum omnes plangite! everyone weep with me!

2 2. Fortune plango vulnera 2. I bemoan the wounds of Fortune (Chorus) (Chorus) Fortune plango vulnera I bemoan the wounds of Fortune stillantibus ocellis, with weeping eyes, quod sua michi munera for the gifts she made me subtrahit rebellis. she perversely takes away. Verum est, quod legitur It is written in truth, fronte capillata, that she has a fine head of hair, sed plerumque sequitur but, when it comes to seizing an opportunity, Occasio calvata. she is bald.

Verum est, quod legitur etc. It is written in truth etc.

In Fortune solio On Fortune’s throne sederam elatus, I used to sit raised up, prosperitatis vario crowned with the many-coloured flore coronatus; flowers of prosperity; quicquid enim florui though I may have flourished felix et beatus, happy and blessed,

CHSA 5067 Booklet.indd 22 21/8/08 16:41:31 nunc a summo corrui now I fall from the peak gloria privatus. deprived of glory.

Quicquid enim floruietc. Though I may have flourishedetc.

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

Rex sedet in vertice etc. Sits the king at the summit etc.

I. Primo vere I. In Spring 3 3. Veris leta facies 3. The merry face of spring (Semi-chorus) (Semi-chorus) Veris leta facies The merry face of spring mundo propinatur, turns to the world, hiemalis acies sharp winter victa iam fugatur. now flees, vanquished. In vestitu vario Bedecked in various colours Flora principatur, Flora reigns, nemorum dulcisono, the harmony of the woods que cantu celebratur. Ah! praises her in song. Ah!

Flore fusus gremio Lying in Flora’s lap, Phebus novo more Phoebus once more risum dat, hoc vario smiles, now covered iam stipate flore. in many-coloured flowers.

CHSA 5067 Booklet.indd 23 21/8/08 16:41:31 Zephyrus nectareo Zephyr breathes spirans in odore; nectar-scented breezes; certatim pro bravio let us rush to compete curramus in amore. Ah! for love’s prize. Ah!

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

4 4. Omnia Sol temperat 4. The Sun warms everything (Baritone) (Baritone) Omnia Sol temperat The Sun warms everything purus et subtilis, pure and gentle, novo mundo reserat once again it reveals to the world faciem Aprilis; April’s face;

ad Amorem properat towards Love is urged animus herilis, the soul of man, et iocundis imperat and joys are governed deus puerilis. by the boy-god.

Rerum tanta novitas All this rebirth in solemni vere in spring’s festivity et veris auctoritas and spring’s power iubet nos gaudere, bids us rejoice,

CHSA 5067 Booklet.indd 24 21/8/08 16:41:31 vias prebet solitas, it shows us paths we know well, et in tuo vere and in your springtime fides est et probitas it is true and right tuum retinere. to keep what is yours.

Ama me fideliter! Love me faithfully! fidem meam nota: see how I am faithful: de corde totaliter with all my heart et ex mente tota and with all my soul

sum presentialiter I am with you absens in remota. even when I am far away. Quisquis amat taliter, Whoever loves this much, volvitur in rota. turns on the wheel.

5 5. Ecce gratum 5. Behold, the pleasant (Chorus) (Chorus) Ecce gratum Behold, the pleasant et optatum and longed-for Ver reducit gaudia: Spring brings back joyfulness: purpuratum violet flowers floret pratum, fill the meadows, Sol serenat omnia. the Sun brightens everything. Iam iam cedant tristia! Sadness is now at an end! Estas redit, Summer returns, nunc recedit now withdraw Hyemis sevitia. Ah! the rigours of Winter. Ah!

Iam liquescit Now melts et decrescit and disappears grando, nix etcetera; ice, snow and the rest; bruma fugit, winter flees,

CHSA 5067 Booklet.indd 25 21/8/08 16:41:31 et iam sugit and now sucks Ver Estatis ubera; Spring at Summer’s breast; illi mens est misera, a wretched soul is he qui nec vivit, who does not live nec lascivit or lust sub Estatis dextera. Ah! under Summer’s rule. Ah!

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

Uf dem anger On the Green 6 6. Tanz 6. Dance

7 7. Floret silva 7. The noble woods are burgeoning (Chorus and semi-chorus) (Chorus and semi-chorus) Floret silva nobilis The noble woods are burgeoning floribus et foliis. with flowers and leaves.

Ubi est antiquus Where is the lover meus amicus? Ah! I knew? Ah!

Hinc equitavit! He has ridden off! Eia quis me amabit? Ah! Oh, who will love me? Ah!

CHSA 5067 Booklet.indd 26 21/8/08 16:41:31 Floret silva undique, The woods are burgeoning all over, nah mime gesellen ist mir wê. I am pining for my lover.

Gruonet der walt allenthalben, The woods are turning green all over, wâ ist min geselle alse lange? Ah! why is my lover away so long? Ah!

Der ist geriten hinnen, He has ridden off, owî, wer sol mich minnen? Ah! oh woe, who will love me? Ah!

8 8. Chramer, gip die varwe mir 8. Shopkeeper, give me colour (Chorus and semi-chorus) (Chorus and semi-chorus) 1 1 Chramer, gip die varwe mir, Shopkeeper, give me colour die min wengel roete, to make my cheeks red, da mit ich die jungen man so that I can make the young men an ir dank der minnenliebe noete. love me, against their will.

Seht mich an, Look at me, jungen man! young men! lat mich iu gevallen! let me please you!

2 2 Minnet, tugentliche man, Good men, love minnecliche frouwen! women worthy of love! minne tuot iu hoch gemuot love ennobles your spirit unde lat iuch in hohen eren schouwen. and gives you honour.

Seht mich an etc. Look at me etc.

3 3 Wol dir, Werlt, daz du bist Hail, World, who is also freudenriche! so rich in joys!

CHSA 5067 Booklet.indd 27 21/8/08 16:41:31 ich will dir sin undertan I will be obedient to you durch din liebe immer sicherliche. because of the pleasures you afford.

Seht mich an etc. Look at me etc.

9 9. Reie 9. Round dance

Swaz hie gat umbe Those who go round and round (Chorus) (Chorus) Swaz hie gat umbe, Those who go round and round, daz sint allez megede, they are all maidens, die wellent ân man they want to do without a man alle disen sumer gan! Ah! Sla! all summer long! Ah! Sla!

Chume, chum, geselle min Come, come, my love (Semi-chorus) (Semi-chorus) Chume, chum, geselle min, Come, come, my love, ih enbite harte din, I long for you, ih enbite harte din, I long for you, chume, chum, geselle min. come, come, my love.

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

Swaz hie gat umbe Those who go round and round (Chorus) (Chorus) Swaz hie gat umbe etc. Those who go round and round etc.

CHSA 5067 Booklet.indd 28 21/8/08 16:41:31 10 10. Were diu werlt alle min 10. If all the world were mine (Chorus) (Chorus) Were diu werlt alle min If all the world were mine von deme mere unze an den Rin, from the sea to the Rhine, des wolt ih mih darben, I would do without it daz diu chünegin von Engellant if the Queen of England lege an minen armen. Hei! would lie in my arms. Hey!

II. In Taberna II. In the Tavern 11 11. Estuans interius 11. Burning inside (Baritone) (Baritone) Estuans interius Burning inside ira vehementi with violent anger in amaritudine and bitterness, loquor mee menti: I speak to my heart: factus de materia, created from matter, cinis elementi of the ashes of the elements, similis sum folio, I am like a leaf de quo ludunt venti. played with by the winds.

Cum sit enim proprium If it is the way viro sapienti of the wise man, supra petram ponere on stone to build sedem fundamenti, his foundations, stultus ego comparor then I am a fool, fluvio labenti, like a flowing stream sub eodem tramite which in its course nunquam permanenti. never changes.

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

CHSA 5067 Booklet.indd 29 21/8/08 16:41:31 vaga fertur avis; a light, hovering bird; non me tenent vincula, chains cannot hold me, non me tenet clavis, keys cannot imprison me, quero mihi similes, I look for people like me et adiungor pravis. and join the wretches.

Mihi cordis gravitas The heaviness of my heart res videtur gravis; seems a burden to me; iocus est amabilis it is pleasant to joke dulciorque favis; and sweeter than honeycomb; quicquid Venus imperat, whatever Venus commands labor est suavis, is a sweet duty, que nunquam in cordibus she never dwells habitat ignavis. in a lazy heart.

Via lata gradior I travel the broad path more iuventutis, as is the way of youth, inplicor et vitiis I give myself to vice, immemor virtutis, unmindful of virtue, voluptatis avidus I am eager for the pleasures of the flesh magis quam salutis, more than for salvation, mortuus in anima my soul is dead, curam gero cutis. so I shall look after the flesh.

12 12. Olim lacus colueram 12. Once I lived on lakes (Tenor and male chorus) (Tenor and male chorus) [The roasted swan sings:] [The roasted swan sings:] 1 1 Olim lacus colueram, Once I lived on lakes, olim pulcher extiteram once I looked beautiful, dum cignus ego fueram. when I was a swan.

CHSA 5067 Booklet.indd 30 21/8/08 16:41:31 Miser, miser! Misery me! modo niger now black et ustus fortiter! and roasting fiercely!

2 2 Girat, regirat garcifer; The servant is turning me on the spit; me rogus urit fortiter: I am burning fiercely on the pyre: propinat me nunc dapifer. the steward now serves me up.

Miser, miser etc. Misery me etc.

3 3 Nunc in scutella iaceo, Now I lie on a plate, et volitare nequeo, and cannot fly any more, dentes frendentes video: I see bared teeth:

Miser, miser etc. Misery me etc.

13 13. Ego sum abbas 13. I am the abbot (Baritone and male chorus) (Baritone and male chorus) Ego sum abbas Cucaniensis, I am the abbot of Cockaigne et consilium meum est cum bibulis, and my assembly is one of drinkers, 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 post vesperam nudus egredietur, the morning, et sic denudatus veste clamabit: after Vespers he will leave naked, and thus stripped of his clothes he will call out:

Wafna! Wafna! Wafna! Wafna! Woe! Woe! Woe! Woe! quid fecisti sors turpissima? what have you done, vilest fate? Wafna! Wafna! Wafna! Woe! Woe! Woe!

CHSA 5067 Booklet.indd 31 21/8/08 16:41:31 Nostre vite gaudia The joys of my life, abstulisti omnia! you have taken all away! Wafna! Wafna! Wafna! Wafna! Woe! Woe! Woe! Woe! Ha ha! Ha ha!

14 14. In taberna quando sumus 14. When we are in the tavern (Male chorus) (Male chorus) In taberna quando sumus, When we are in the tavern, non curamus quid sit humus, we do not think how we will go to dust, sed ad ludum properamus, but we hurry to gamble, cui semper insudamus. which always makes us sweat. Quid agatur in taberna, What happens in the tavern, ubi nummus est pincerna, where money is host, hoc est opus ut queratur, you may well ask, sic quid loquar, audiatur. and hear what I say.

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

Primo pro nummata vini, First of all it is to the wine-merchant ex hac bibunt libertini; that the libertines drink; semel bibunt pro captivis, one for the prisoners, post hec bibunt ter pro vivis, three for the living, quater pro Christianis cunctis, four for all Christians, quinquies pro fidelibus defunctis, five for the faithful dead, sexies pro sororibus vanis, six for the loose sisters, septies pro militibus silvanis. seven for the footpads in the wood. 32

CHSA 5067 Booklet.indd 32 21/8/08 16:41:31 Octies pro fratribus perversis, Eight for the errant brethren, nonies pro monachis dispersis, nine for the dispersed monks, decies pro navigantibus, ten for the seamen, undecies pro discordantibus, eleven for the squabblers, duodecies pro penitentibus, twelve for the penitent, tredecies pro iter agentibus. thirteen for the wayfarers. Tam pro papa quam pro rege To the Pope as to the king bibunt omnes sine lege. they all drink without restraint.

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

Bibit pauper et egrotus, The poor man drinks, and the sick man, bibit exul et ignotus, the exile drinks, and the stranger, bibit puer, bibit canus, the boy drinks, the old man drinks, bibit presul et decanus, the bishop drinks, and the deacon, bibit soror, bibit frater, the sister drinks, the brother drinks, bibit anus, bibit mater, the old lady drinks, the mother drinks, bibit iste, bibit ille, this woman drinks, that man drinks, bibunt centum, bibunt mille. a hundred drink, a thousand drink.

Parum sexcente nummate Six hundred pennies would hardly durant, cum immoderate suffice, if everyone drank bibunt omnes sine meta, without measure, quamvis bibant mente leta; however much they cheerfully drink; sic nos rodunt omnes gentes, we are the ones whom everyone scolds,

CHSA 5067 Booklet.indd 33 21/8/08 16:41:31 et sic erimus egentes. and thus we are destitute. Qui nos rodunt confundantur May those who slander us be cursed et cum iustis non scribantur. and not recorded among the righteous.

Io io io io io io io io io! Io io io io io io io io io!

III. Cour d’amours III. The Court of Love 15 15. Amor volat undique 15. Cupid flies everywhere (Soprano and children’s choir) (Soprano and children’s choir) Amor volat undique; Cupid flies everywhere; captus est libidine. he is seized by desire. Juvenes, iuvencule Young men and women coniunguntur merito. are rightly coupled.

Siqua sine socio, The girl without a lover caret omni gaudio; misses out on all pleasures; tenet noctis infima she keeps the dark night sub intimo hidden cordis in custodia: in the depth of her heart:

fit res amarissima. it is a most bitter fate.

16 16. Dies, nox et omnia 16. Day, night and everything (Baritone) (Baritone) Dies, nox et omnia Day, night and everything michi sunt contraria, is against me, virginum colloquia the chattering of maidens me fay planszer makes me weep oy suvenz suspirer, and often sigh, plu me fay temer. and, most of all, scares me.

CHSA 5067 Booklet.indd 34 21/8/08 16:41:32 O sodales, ludite, O friends, you are making fun of me, vos qui scitis dicite, you do not know what you are saying, michi mesto parcite, spare me, sorrowful as I am, grand ey dolur, great is my grief, attamen consulite advise me at least per voster honur. by your honour.

Tua pulchra facies, Your beautiful face me fay planszer milies, makes me weep a thousand times, pectus habet glacies. your heart is of ice. A remender As a cure statim vivus fierem I would be revived per un baser. by a kiss.

17 17. Stetit puella 17. A girl stood (Soprano) (Soprano) Stetit puella A girl stood rufa tunica; in a red tunic; si quis eam tetigit, if anyone touched it, tunica crepuit. the tunic rustled. Eia, eia, eia, eia. Eia, eia, eia, eia.

Stetit puella A girl stood tamquam rosula; like a little rose; facie splenduit, her face was radiant, os eius floruit. and her mouth in bloom. Eia, eia, eia, eia. Eia, eia, eia, eia.

18 18. Circa mea pectora 18. In my heart (Baritone and chorus) (Baritone and chorus) Circa mea pectora In my heart multa sunt suspiria there are many sighs

CHSA 5067 Booklet.indd 35 21/8/08 16:41:32 de tua pulchritudine, for your beauty, que me ledunt misere. Ah! which wound me sorely. Ah!

Circa mea pectora In my heart multa sunt suspiria. there are many sighs. Mandaliet, mandaliet, Mandaliet, mandaliet, min geselle choˇmet niet! my lover does not come!

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

Tui lucent oculi Your eyes shine sicut solis radii. like the rays of the sun. Mandaliet, mandaliet etc. Mandaliet, mandaliet etc.

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

Vellet deus, vellent dii, May God grant, may the gods grant, quod mente proposui. what I have in mind. Mandaliet, mandaliet etc. Mandaliet, mandaliet etc.

19 19. Si puer cum puellula 19. If a boy with a girl (Baritone and male chorus) (Baritone and male chorus) Si puer cum puellula If a boy with a girl moraretur in cellula, tarries in a little room, felix coniunctio. happy is their coupling. Amore suscrescente, Love rises up,

CHSA 5067 Booklet.indd 36 21/8/08 16:41:32 pariter e medio and between them avulso procul tedio, prudery is driven away, fit ludus ineffabilis an ineffable game begins membris, lacertis, labilis, in their limbs, arms and lips, si puer cum puellula etc. if a boy with a girl etc.

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

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

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

21 21. In trutina 21. In the wavering balance (Soprano) (Soprano) In trutina mentis dubia In the wavering balance of my feelings fluctuant contraria set against each other lascivus amor et pudicitia. are lascivious love and modesty.

Sed eligo quod video, But I choose what I see, collum iugo prebeo; and submit my neck to the yoke; ad iugum tamen suave transeo. I yield to the sweet yoke.

CHSA 5067 Booklet.indd 37 21/8/08 16:41:32 22 22. Tempus est iocundum 22. This is the joyful time (Soprano, baritone, chorus and (Soprano, baritone, chorus and children’s choir) children’s choir) Tempus est iocundum, This is the joyful time, o virgines, O maidens, modo congaudete, rejoice with them, vos iuvenes. young men.

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

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

Oh, oh, oh etc. Oh, oh, oh etc.

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

Oh, oh, oh etc. Oh, oh, oh etc.

Mea mecum ludit My virginity virginitas, makes me frisky, mea me detrudit my simplicity simplicitas. holds me back. 38

CHSA 5067 Booklet.indd 38 21/8/08 16:41:32 Oh, oh, oh etc. Oh, oh, oh etc.

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

Oh, oh, oh etc. Oh, oh, oh etc.

23 23. Dulcissime 23. Sweetest one (Soprano) (Soprano) Dulcissime, ah, Sweetest one, ah, totam tibi subdo me! I give myself to you totally!

Blanziflor et Helena Blanziflor and Helena 24 24. Ave formosissima 24. Hail, most beautiful one (Full chorus) (Full chorus) Ave formosissima, Hail, most beautiful one, gemma pretiosa, precious jewel, ave decus virginum, hail, pride among virgins, virgo gloriosa, glorious virgin, ave mundi luminar, hail, light of the world, ave mundi rosa, hail, rose of the world, Blanziflor et Helena, Blanziflor and Helena, Venus generosa. noble Venus.

Fortuna Imperatrix Mundi Fortune, Empress of the World 25 25. O Fortuna 25. O Fortune (Full chorus) (Full chorus) O Fortuna, O Fortune, velut Luna like the moon statu variabilis, you are changeable,

CHSA 5067 Booklet.indd 39 21/8/08 16:41:32 semper crescis ever waxing aut decrescis; and waning; vita detestabilis hateful life nunc obdurat first oppresses et tunc curat and then soothes ludo mentis aciem, as fancy takes it, egestatem, poverty potestatem and power, dissolvit ut glaciem. it melts them like ice.

Sors 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.

CHSA 5067 Booklet.indd 40 21/8/08 16:41:32 Hac in hora So at this hour sine mora without delay corde pulsum tangite; pluck the vibrating strings; quod per sortem since Fate sternit fortem, strikes down the strong man, mecum omnes plangite! everyone weep with me!

Barry Banks Christopher Maltman

CHSA 5067 Booklet.indd 41 21/8/08 16:41:33 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

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CHSA 5067 Booklet.indd 42 21/8/08 16:41:33 With thanks to the Barbican Centre and the City of London

Recording producer Ralph Couzens Sound engineers Jonathan Stokes and Neil Hutchinson, Classic Sound Editor Rachel Smith Mastering Ralph Couzens A & R administrator Mary McCarthy Recording venue Barbican Centre, London (live); 17 and 18 November 2007 Front cover ‘The Storm – A Flame Fractal’, photograph © Ann Garrett/Arcangel Images Back cover Photograph of Richard Hickox by Greg Barrett Design and typesetting Cassidy Rayne Creative Booklet editor Finn S. Gundersen Copyright Schott Music GmbH & Co. KG, Mainz p 2008 Chandos Records Ltd © 2008 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU

CHSA 5067 Booklet.indd 43 21/8/08 16:41:33 SUPER AUDIO CD Carl Orff CARMINA BURANA live recording

Laura Claycomb soprano Barry Banks tenor London Symphony Chorus Christopher Maltman baritone London Symphony Orchestra CHSA 5067 Richard Hickox

CHSA 5067 Booklet Cover.indd 1 21/8/08 16:40:45 CHANDOS DIGITAL CHSA 5067 CHANDOS CHANDOS

Printed in the EU MCPS

0 9 5 1 1 5 5 0 6 7 2 1 Carl Orff (1895 –1982) LC 7038 DDD TT 60:37 Recorded in DSD 5-channel surround sound 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

CHSA 5067 Inlay.indd 1 21/8/08 16:50:40