DOCSLIB.ORG

Carmina PRESENTED with Burana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carmina PRESENTED with Burana THE HELIOS ENSEMBLE PRESENTS Carmina PRESENTED WITH Burana SATURDAY NOV 23RD 7 PM CATALINA UNITED METHODIST CHURCH 2700 E SPEEDWAY BLVD, TUCSON THE HELIOS ENSEMBLE AND THE SOUTHERN ARIZONA SYMPHONY ORCHESTRA PRESENT Carmina Burana PROGRAM Carmina Burana (1936) Carl Orff (1895-1982) Fortuna Imperatrix Mundi (Fortune, Empress of the World) Primo vere (In Springtime) Uf dem Anger (On the Green) In Taberna (In the Tavern) Cour d’amours (The Court of Love) Branziflor et Helena (Branchefleur and Helen) Fortuna Imperatrix Mundi (Fortune, Empress of the World) Alexsandra Esposito, soprano Matthew Holter, tenor Octavio Moreno, baritone The Helios Ensemble Southern Arizona Symphony Orchestra Benjamin Hansen, conductor PROGRAM NOTES Carl Orff was a German composer and music educator. His Carmina Burana, written in 1936, is Orff’s most celebrated work. The composer entitled it a ‘dramatic cantata.’ It can be performed in a stage version with dancing and pantomime, but usually it is given in a concert version for solo singers, chorus and orchestra. The supporting orchestra is of the usual size and is augmented by two pianos and a large percussion section. The text is drawn from a famous 13th century collection of Goliard songs and poems that were discovered in the ancient Bavarian monastery of Benediktbeuren in 1803; hence the name Carmina Burana (Songs of Beuren). These were secular songs written in a mixture of medieval Latin, low German and French by minstrel poets, artists and runaway monks - people outside the respectable society of the time.” CARMINA BURANA Fortuna Imperatrix Mundi 1. O Fortuna O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power it melts them like ice. 3 PROGRAM NOTES continued Fate - monstrous 2. Fortune plango vulnera and empty, (I bemoan the wounds of you whirling wheel, Fortune) you are malevolent, I bemoan the wounds of well-being is vain Fortune and always fades to nothing, with weeping eyes, shadowed for the gifts she made me and veiled she perversely takes away. you plague me too; It is written in truth, now through the game that she has a fine head of hair, I bring my bare back but, when it comes to seizing to your villainy. an opportunity Fate is against me she is bald. in health On Fortune's throne and virtue, I used to sit raised up, driven on crowned with and weighted down, the many-coloured flowers of always enslaved. prosperity; So at this hour though I may have flourished without delay happy and blessed, pluck the vibrating strings; now I fall from the peak since Fate deprived of glory. strikes down the strong man, The wheel of Fortune turns; everyone weep with me! I go down, demeaned; another is raised up; far too high up sits the king at the summit - let him fear ruin! for under the axis is written Queen Hecuba. 4 Primo Vere 4. Omnia sol temperat (The sun warms everything) 3. Veris leta facies The sun warms everything, (The merry face of spring) pure and gentle, The merry face of spring once again it reveals to the world turns to the world, April's face, sharp winter the soul of man now flees, vanquished; is urged towards love bedecked in various colours and joys are governed Flora reigns, by the boy-god. the harmony of the woods All this rebirth praises her in song. Ah! in spring’s festivity Lying in Flora's lap and spring’s power Phoebus once more bids us to rejoice; smiles, now covered it shows us paths we know well, in many-coloured flowers, and in your springtime Zephyr breathes nectar- it is true and right scented breezes. to keep what is yours. Let us rush to compete Love me faithfully! for love's prize. Ah! See how I am faithful: In harp-like tones sings with all my heart the sweet nightingale, and with all my soul, with many flowers I am with you the joyous meadows are even when I am far away. laughing, Whosoever loves this much a flock of birds rises up turns on the wheel. through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah! 5 PROGRAM NOTES continued 5. Ecce gratum Uf dem Anger (Behold, the pleasant spring) Behold, the pleasant 6. Tanz (Dance) and longed-for spring brings back joyfulness, 7. Floret silva nobilis violet flowers (The woods are burgeoning) fill the meadows, The noble woods are the sun brightens everything, burgeoning sadness is now at an end! with flowers and leaves. Summer returns, Where is the lover now withdraw I knew? Ah! the rigours of winter. Ah! He has ridden off! Now melts Oh! Who will love me? Ah! and disappears The woods are burgeoning all ice, snow and the rest, over, winter flees, I am pining for my lover. and now spring sucks at The woods are turning green all summer's breast: over, a wretched soul is he why is my lover away so long? who does not live Ah! or lust He has ridden off, under summer's rule. Ah! Oh woe, who will love me? Ah! They glory and rejoice 8. Chramer, gip die varwe mir in honeyed sweetness (Shopkeeper, give me colour) who strive Shopkeeper, give me colour to make use of to make my cheeks red, Cupid’s prize; so that I can make the young at Venus’ command men let us glory love me, against their will. and rejoice Look at me, in being Paris' equals. Ah! young men! Let me please you! 6 Good men, love 10. Were diu werlt alle min women worthy of love! (Were all the world mine) Love ennobles your spirit Were all the world mine and gives you honour. from the sea to the Rhine, ... I would starve myself of it Hail, world, so that the Queen of England so rich in joys! might lie in my arms. I will be obedient to you because of the pleasures In Taberna you afford. ... 11. Estuans interius (Burning Inside) 9. Reie (Round dance) Burning inside Those who go round and with violent anger, round bitterly are all maidens, I speak to my heart: they want to do without a created from matter, man of the ashes of the elements, all summer long. Ah! Sla! I am like a leaf Come, come, my love, played with by the winds. I long for you, If it is the way I long for you, of the wise man come, come, my love. to build Sweet rose-red lips, foundations on stone, come and make me better, the I am a fool, like come and make me better, a flowing stream, sweet rose-red lips. which in its course never changes. I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; 7 PROGRAM NOTES continued chains cannot hold me, I am burning fiercely on the keys cannot imprison me, pyre: I look for people like me the steward now serves me up. and join the wretches. Now I lie on a plate, The heaviness of my heart and cannot fly anymore, seems like a burden to me; I see bared teeth: it is pleasant to joke and sweeter than honeycomb; 13. Ego sum abbas whatever Venus commands (I am the abbot) is a sweet duty, I am the abbot of Cockaigne she never dwells and my assembly is one of in a lazy heart. drinkers, I travel the broad path and I wish to be in the order of as is the way of youth, Decius, I give myself to vice, and whoever searches me out unmindful of virtue, at the tavern in the morning, I am eager for the pleasures of after Vespers he will leave the flesh naked, more than for salvation, and thus stripped of his my soul is dead, clothes he will call out: so I shall look after the flesh. Woe! Woe! what have you done, vilest 12. Cignus ustus cantat Fate? (The Roast Swan) the joys of my life Once I lived on lakes, you have taken all away! Once I looked beautiful when I was a swan. Misery me! Now black and roasting fiercely! The servant is turning me on the spit; 8 14. In taberna quando nine for the dispersed monks, sumus (When we are in ten for the seamen, the tavern) eleven for the squabblers, When we are in the tavern, twelve for the penitent, we do not think how we will thirteen for the wayfarers. go to dust, To the Pope as to the king but we hurry to gamble, they all drink without restraint. which always makes us The mistress drinks, the master sweat. drinks, What happens in the tavern, the soldier drinks, the priest where money is host, drinks, you may well ask, the man drinks, the woman and hear what I say. drinks, Some gamble, some drink, the servant drinks with the maid, some behave loosely. the swift man drinks, the lazy But of those who gamble, man drinks, some are stripped bare, the white man drinks, the black some win their clothes here, man drinks, some are dressed in sacks. the settled man drinks, the Here no-one fears death, wanderer drinks, but they throw the dice in the stupid man drinks, the wise the name of Bacchus. man drinks, First of all it is to the wine- The poor man drinks, the sick merchant man drinks, the the libertines drink, the exile drinks, and the stranger, one for the prisoners, the boy drinks, the old man three for the living, drinks, four for all Christians, the bishop drinks, and the five for the faithful dead, deacon, six for the loose sisters, the sister drinks, the brother seven for the footpads in drinks, the wood, the old lady drinks, the mother Eight for the errant brethren, drinks, 9 PROGRAM NOTES continued this man drinks, that man drinks, 16.
Load more

Recommended publications
  • Lehigh University Choral Arts Lehigh University Music Department
    Lehigh University Lehigh Preserve Performance Programs Music Spring 5-3-2002 Lehigh University Choral Arts Lehigh University Music Department Follow this and additional works at: http://preserve.lehigh.edu/cas-music-programs Part of the Music Performance Commons Recommended Citation Lehigh University Music Department, "Lehigh University Choral Arts" (2002). Performance Programs. 155. http://preserve.lehigh.edu/cas-music-programs/155 This Program is brought to you for free and open access by the Music at Lehigh Preserve. It has been accepted for inclusion in Performance Programs by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. BAKER HALL• ZOELLNERARTS CENTER . I I Lehigh Univer. ity Music Department 2001 - 2002 SEASON Welcome to Zoellner Arts Center! We hope you will take advantage of all the facilities, including Baker Hall, the Diamond and Black Box Theaters, as well as the Art Galleries and the Museum Shop. There are restrooms on every floor and concession stands in the two lobbies. For all ticket information, call (610) 7LU-ARTS (610-758-2787). To ensure the best experience for everyone, please: Bring no food or drink into any of the theaters Refrain from talking while music is being performed Refrain from applause between movements Do not use flash photography or recording devices Turn off all pagers and cellular phones Turn off alarms on wrist watches Do not smoke anywhere in the facilities MUSIC DEPARTMENT STAFF Professors - Paul Salemi, Steven Sametz, Nadine Sine (chair)
    [Show full text]
  • Carmina Burana
    The William Baker Choral Foundation in the Midwest Presents Carl Orff CARMINA BURANA The Summer Singers of Kansas City William O. Baker, Music Director & Conductor Christine Freeman, Associate Music Director Jamea J. Sale, WBCF Executive Associate Music Director Niccole Winney, Student Intern Steven McDonald & Robert Pherigo, Piano Mark Lowry, John Currey, Ray DeMarchi Steve Riley & Laura Lee Crandall, Percussion Sarah Tannehill Anderson, soprano David Adams, tenor Robert McNichols, baritone Sunday Afternoon, 19 August 2018 Grace & Holy Trinity Cathedral Kansas City, Missouri www.ChoralFoundation.org The 20th Anniversary Summer Singers of Kansas City William O. Baker, DMA Sharon Abner Barbara Gustin Ruth Ann Phares WBCF Founder & Music Director Elaine Adams Frederick Gustin *Brad Piroutek Jenny Aldrich +Natalie Hackler *Julie Piroutek Jamea J. Sale, MME Jean Ayers Jill Hall Melanie Ragan WBCF Executive Associate Music Director *Laura Baker Emerson Hartzler Jane Rockhold *Chris Barnard Kelli Jo Henderson Elizabeth Rowell Lynn Swanson, MME Carolyn Baruch Stephen Hodson Christopher Rupprecht Director, Institute for Healthy Singing *David Beckers Esther Huhn *Jamea Sale Music Director, Baroque Summer Institute Emily Behrmann Beverly Hunt +Shad Sanders *Jennifer Berroth Laura Jacob Charis Schneeberger Andrew Phillip Schmidt, MM Harvey Berwin *Jim Jandt Vicki Schultz Music Director, New South Festival Singers Madeline Boorigie *Jill Jarrett Caren Seaman Music Director-Elect, Summer Singers Atlanta Rebecca Boos *Gary Jarrett *Cindy Sheets Amy Thropp, MM Chris Bradt Susan Johannsen +Pratima Singh Music Director, Zimria Festivale Atlanta Debra Burnes Elaine Johnson Gary Smedile +Mary Burnett Rebecca Jordan Pam Smedile Christine M. Freeman, MME Cynthia Campbell Russell Joy +George Smith Associate Music Director/Senior Vocal Coach *William Cannon Julie Kaplan Linda Spears Becky Carle *Amanda Kimbrough Barton Stanley Scott C.
    [Show full text]
  • Carmina Burana
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra kompozice, dirigování a operní režie Studijní obor Dirigování orchestru Carl Orff: Carmina Burana Diplomová práce Autor práce: MgA. Marek Prášil Vedoucí práce: prof. Mgr. Jan Zbavitel Oponent práce: doc. Mgr. Emil Skoták Brno 2017 Bibliografický záznam PRÁŠIL, Marek. Carl Orff: Carmina Burana [Carl Orff: Carmina Burana]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra kompozice, dirigování a operní režie, rok 2017, s.58 Vedoucí diplomové práce prof. Mgr. Jan Zbavitel. Anotace Diplomová práce „Carl Orff: Carmina Burana“, jak již ze samotného názvu vyplývá, pojednává o skladateli Carlu Orffovi a jeho nejslavnější skladbě, kantátě Carmina Burana. V první části shrnuje život skladatele, stručně charakterizuje jeho dílo a kompoziční styl. Druhá část, věnovaná samotné kantátě, je zaměřena především na srovnání několika verzí kantáty. Jedná se o původní originální symfonickou verzi, autorizovanou komorní verzi, a pak také o transkripci pro symfonický dechový orchestr. Annotation The thesis „Carl Orff: Carmina Burana” deals with composer Carl Orff and his most famous composition the cantata of Carmina Burana, as is already clear from the title itself. In the first part the composer's life is summarized and briefly his work and compositional style are characterized. The second part is dedicated to the cantata itself, it is focused on comparing several versions of the cantatas. There is one original symphonic version, the Authorized chamber version, and a transcription for symphonic band. Klíčová slova Carl Orff, Carmina Burana, kantáta, symfonický orchestr, dechový orchestr, komorní ansámbl Keywords Carl Orff, Carmina Burana, cantata, symphonic orchestra, wind band (concert band), chamber ensemble Poděkování Na tomto místě bych rád poděkoval především MgA.
    [Show full text]
  • Concert: Carmina Burana by Carl Orff Ithaca College Choral Union
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2005 Concert: Carmina Burana by Carl Orff Ithaca College Choral Union Ithaca College Symphony Orchestra Lawrence Doebler Jeffrey Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choral Union; Ithaca College Symphony Orchestra; Doebler, Lawrence; and Grogan, Jeffrey, "Concert: Carmina Burana by Carl Orff" (2005). All Concert & Recital Programs. 4790. https://digitalcommons.ithaca.edu/music_programs/4790 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CHORAL UNION ITHACA COLLEGE SYMPHONY ORCHESTRA Lawrence Doebler, conductor CARMINA BURANA by Carl Orff Randie Blooding, baritone Deborah Montgomery-Cove, soprano Carl Johengen, tenor Ithaca College Women's Chorale, Janet Galvan, conductor Ithaca College Chorus, Janet Galvan, conductor Ithaca College Choir, Lawrence Doebler, conductor Ithaca College Symphony Orchestra, Jeffrey Grogan, conductor Charis Dimaris and Read Gainsford, pianists Members of the Ithaca Children's Choir Community School of Music and Arts Janet Galvan, artistic director Verna Brummett, conductor Ford Hall Sunday, April 17, 2005 4:00 p.m. ITHACA THE OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber Ithaca College Symphony
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    * BOSTON SYAfl PHONY m ORCHESTRA i i , V SEASON f '0* 3' Music Director lk Conductor j Emei {Music Director Lc I IP the Clarendon BACK BAY The Way to Live ;; III! in"! I II !! U nil * I v l iji HI I etc - I y=- • ^ Fi 2 '\ i ra % m 1 1 ih ... >'? & !W ||RBIK;| 4* i :: it n w* n- I II " n ||| IJH ? iu u. I 1?: iiir iu» !! i; !l! Hi \m SL • i= ! - I m, - ! | || L ' RENDERING BY NEOSCAPE INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOI CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DL/aLcomp/ REGISTERED W "HE U.S. GREEN BUILDING COUNl ITH ANTICIPATED LEED SILVER CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which a described. No Fede: subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or where prohibited. agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer being made. Void Table of Contents | Week 7 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM Notes on the Program 35 The Original Sound of the "Carmina burana" (c.1230) 41 Carl Orff's "Carmina burana" 53 To Read and Hear More..
    [Show full text]
  • Reconsidering the Carmina Burana Gundela Bobeth (Translated by Henry Hope)1
    4 | Wine, women, and song? Reconsidering the Carmina Burana gundela bobeth (translated by henry hope)1 Introduction: blending popular views and scientific approaches By choosing the catchy title Carmina Burana –‘songs from Benediktbeuern’–for his 1847 publication of all Latin and German poems from a thirteenth-century manuscript held at the Kurfürstliche Hof- und Staatsbibliothek Munich, a manuscript as exciting then as now, the librar- ian Johann Andreas Schmeller coined a term which, unto the present day, is generally held to denote secular music-making of the Middle Ages in paradigmatic manner.2 The Carmina Burana may be numbered among the few cornerstones of medieval music history which are known, at least by name, to a broader public beyond the realms of musicology and medieval history, and which have evolved into a ‘living cultural heritage of the present’.3 Held today at the Bayerische Staatsbibliothek under shelfmarks Clm 4660 and 4660a, and commonly known as the ‘Codex Buranus’, the manuscript – referred to in what follows as D-Mbs Clm 4660-4660a – constitutes the largest anthology of secular lyrics in medieval Latin and counts among the most frequently studied manuscripts of the Middle Ages.4 Yet the entity most commonly associated with the title Carmina Burana has only little to do with the musical transmission of this manu- script. Carl Orff’s eponymous cantata of 1937, which quickly became one of the most famous choral works of the twentieth century, generally tops the list of associations. Orff’s cantata relates to D-Mbs Clm 4660-4660a only in as much as it is based on a subjective selection of the texts edited by Schmeller; it does not claim to emulate the medieval melodies.
    [Show full text]
  • Carmina Burana
    Carmina Burana Featuring the Choir and Percussion Ensembles of the Department of Music at the Université de Moncton; Monique Richard, conductor; Indian River Festival Chorus; Kelsea McLean, conductor; Danika Lorèn, soprano; Jonathan MacArthur, tenor; Adam Harris, baritone; Peter Tiefenbach, piano; and Robert Kortgaard, piano Sunday, July 10, 7:30pm Fogarty’s Cover Stan Rogers, arr. by Ron Smail I Dreamed of Rain Jan Garrett, arr. by Larry Nickel Praise His Holy Name Keith Hampton Embarquement pour Cythere Francis Poulenc Catching Shadows Ivan Trevino Misa Criolla Ariel Ramirez INTERMISSION Carmina Burana Carl Orff Fortuna Imperatrix Mundi Fortune, Empress of the World 1. O Fortuna O Fortune 2. Fortune plango vulnera I lament the wounds that Fortune deals I. Primo vere In Spring 3. Veris leta facies The joyous face of Spring 4. Omnia Sol temperat All things are tempered by the Sun 5. Ecce gratum Behold the welcome Uf dem anger In the Meadow 6. Tanz Dance 7. Floret silva The forest flowers 8. Chramer, gip die varwe mir Monger, give me coloured paint 9. a) Reie Round dance b) Swaz hie gat umbe They who here go dancing around c) Chume, chum, geselle min Come, come, my dear companion d) Swaz hie gat umbe (reprise) They who here go dancing around 10. Were diu werlt alle min If the whole world were but mine II. In Taberna In the Tavern 11. Estuans interius Seething inside 12. Olim lacus colueram Once I swam in lakes 13. Ego sum abbas Cucaniensis I am the abbot of Cockaigne 14. In taberna quando sumus When we are in the tavern III.
    [Show full text]
  • Of Music PROGRAM
    SHEPHERD SCHOOL SYMPHONY ORCHESTRA RICE CHORALE HOUSTON CHILDREN'S CHORUS CHAMBER CHOIR Larry Rachleff, conductor Friday, April23, 1993 8:00p.m. Stude Concert Hall "-' sfkteherd RICE UNIVERSITY Sc~ol Of Music PROGRAM Fanfare for a Great City Arthur Gottschalk (b. 1952) Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (1833-1897) INTERMISSION Carmina Burana Carl Orff ( 1895-1982) Rice Chorale Houston Children's Chorus Chamber Choir Kelley Cooksey, soprano Francisco Almanza, tenor Robert Ames, baritone In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin I Viola (cont.) Oboe Trumpet (cont.) Julie Savignon, Erwin Foubert Margaret Butler Troy Rowley concertmaster Patrick Horn Kyle Bruckmann David Workman Claudia Harrison Stephanie Griffin Jeffrey Champion Trombone Barbara Wittenberg Bin Sun Dione Chandler Wade Demmert Jeanine Tiemeyer Andrew Weaver Karen Friedman David Ford Kristin Lacey Sharon Neufeld ~ Brent Phillips Mihaela Oancea English Horn Cello Kyle Bruckmann Inga Ingver Tuba Katherine de Bethune, Yenn Chwen Er Clarinet Jeffrey Tomberg principal Yoong-han Chan Benjamin Brady Danny Urban ~ Jeanne Jaubert Magdalena Villegas Joanne Court Scott Brady Timpani and Tanya Schreiber Kelly Cramm Mary Ellen Morris Percussion Rebecca Ansel Martin van Maanen Robin Creighton Douglas Cardwell Eitan Ornoy X in-Yang Zhou Amy
    [Show full text]
  • 新古典主義(Neo-Classicism)與卡爾奧福(Carl Orff)的布蘭詩歌(Carmina
    新古典主義(Neo-classicism)與卡爾奧福 (Carl Orff)的布蘭詩歌(Carmina Burana) 高千珊 目 次 目 次 ........................................................................................ I 前 言 ........................................................................................ 1 一、新古典主義音樂 .............................................................. 2 二、卡爾‧奧福的生平 .......................................................... 6 三、布蘭詩歌 ......................................................................... 10 四、結 語 ............................................................................. 25 參考資料 .................................................................................. 26 【附錄一】 ............................................................................. 29 I 前 言 卡爾‧奧福 ( Carl Burana , 1895-1982 ) 是 20 世紀著名的德國作曲家，更是 重要的音樂教育家，在他 87 年的音樂生涯中，透過長期的創作實踐與不斷的研 究探索，寫下許多著名的作品，而《布蘭詩歌》( Carmina Burana , 1937 ) 更是他 在音樂創作上一部重要的代表作。這部以中世紀詩歌為題材的大型作品，奧福將 中世紀、巴洛克及二十世紀這三個時空巧妙結合，以簡潔的節奏及特殊的音樂語 言創作出獨特的音樂風格。身為音樂老師的我，卡爾‧奧福這個名字早已十分熟 悉，但對於他的生平和他所處的時空背景，以及所創作的樂曲卻感到陌生，所以 本文將以此作為了解的重點，並試圖探究其作品《布蘭詩歌》。在結構上，本文 共分為四個部份，在第一部份中，本文將對二十世紀的新古典主義加以說明；第 二部份則針對卡爾‧奧福的生平做一介紹；第三部份則以《布蘭詩歌》為例，進 行分析與研究。 1 一、新古典主義音樂 十九世紀，科學的快速進步，電報、電話、錄音器材與無線電的發明，拉近 了東西方國家的距離，也間接增加對各民族間音樂的認識；而鐵路與汽車工業的 突飛猛進，也使經濟快速發展起來。進入二十世紀後，科技與工業持續進步，飛 機、汽車、收錄音機以及電話……等的普遍使用，將人們的生活徹底改變。自然 科學上，愛因斯坦的相對論及量子力學1的研究結果，則改變人們對物質結構的 概念以及對宇宙及世界的認知。而 1914 年的第一次世界大戰，使得許多國家經 歷社會與政治的動盪與不安，也改變了世界政治的權利結構。 西方音樂上，在歷經十九世紀浪漫主義音樂的洗禮，調性、和聲的使用達至 巔峰，社會與科技的發展與改變，也影響音樂家們去思索音樂未來的新方向。隨 著浪漫主義的式微，緊接而來的第一次世界大戰，使得新的生活型態及社會價值 漸漸形成，西方的文學、哲學、繪畫、舞蹈及音樂出現許多新的思潮，音樂的發
    [Show full text]
  • Wine, Women, and Song
    WINE, WOMEN, AND SONG. "Wer liebt nicht Weib Wein and Gesang Der bleibt ein Narr sein Lebenslang." —Martin Luther. MEDIÆVAL LATIN STUDENTS' SONGS Now First Translated into English Verse WITH AN ESSAY BY JOHN ADDINGTON SYMONDS London CHATTO AND WINDUS, PICCADILLY 1884 TO ROBERT LOUIS STEVENSON. Dear Louis, To you, in memory of past symposia, when wit (your wit) flowed freer than our old Forzato, I dedicate this little book, my pastime through three anxious months. Yours, JOHN ADDINGTON SYMONDS Villa Emily, San Remo, May 1884. Wine, Women, and Song. [1] I. When we try to picture to ourselves the intellectual and moral state of Europe in the Middle Ages, some fixed and almost stereotyped ideas immediately suggest themselves. We think of the nations immersed in a gross mental lethargy; passively witnessing the gradual extinction of arts and sciences which Greece and Rome had splendidly inaugurated; allowing libraries and monuments of antique civilisation to crumble into dust; while they trembled under a dull and brooding terror of coming judgment, shrank from natural enjoyment as from deadly sin, or yielded themselves with brutal eagerness to the satisfaction of vulgar appetites. Preoccupation with the other world in this long period weakens man's hold upon the things that make his life desirable. Philosophy is sunk in the slough of ignorant, perversely subtle disputation[2] upon subjects destitute of actuality. Theological fanaticism has extinguished liberal studies and the gropings of the reason after truth in positive experience. Society lies prostrate under the heel of tyrannous orthodoxy. We discern men in masses, aggregations, classes, guilds—everywhere the genus and the species of humanity, rarely and by luminous exception individuals and persons.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1995
    osfon i^j^ny wksW Tangtew@» 5 NOW AT FILENE'S... FROM TOMMY H i The tommy collection i Cologne spray, 3.4-oz.,$42 Cologne spray, 1.7-oz.,$28 After-shave balmB mm 3.4-oz., $32 m After-shave, 3.4-oz., $32 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Allen Z. Kluchman Mrs. Robert B. Newman James F. Cleary Nina L. Doggett Harvey Chet Peter C. Read John F. Cogan, Jr. Dean W. Freed Krentzman Carol Scheifele-Holmes Julian Cohen AvramJ. Goldberg George Krupp Richard A. Smith William F. Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Julian T. Houston Trustees Emeriti Vernon R. Alden Archie C. Epps Mrs. George I. Mrs. George Lee Philip K. Allen Mrs. Harris Kaplan Sargent David B. Arnold, Jr. Fahnestock George H. Kidder Sidney Stoneman Leo L. Beranek Mrs. John L. Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Grandin Irving W. Rabb John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Board of Overseers of the Boston Symphony Orchestra, Inc. Thelma E. Goldberg, Chairman Robert P. O'Block, Vice-Chairman Jordan L.
    [Show full text]
  • REDUZIERTE NOTRE-DAME-CONDUCTUS IM SOGENANNTEN CODEX BURANUS? Rudolf F 1 O T Z I N G E R (Graz)
    MUZlKOLOšKl ZBORNlK - MUSlCOLOGlCAL ANNUAL XVIl/l, LJUBLJANA 1981 UDK 783.2"12" REDUZIERTE NOTRE-DAME-CONDUCTUS IM SOGENANNTEN CODEX BURANUS? Rudolf F 1 o t z i n g e r (Graz) Es gehort zu den selbstverstandlichen methodischen Grundprin­ zipien, daB mit der Kliirung von Datierung und Provenienz einer Quelle nicht nur zahlreiche neue Gesichts- und Beziehungspunkte erst ermoglicht werden, sondern daB damit auch neue Fragen auftauchen (ob z. B. dadurch bisherige Annahmen bekraftigt oder. widerlegt wer­ den). Seit kurzem scheint nun festzustehen, daB der zu den berilhmte­ sten Zeugnissen des Mittelalters gehorende sogenannte Codex Buranus (Milnchen Clm 4660) aus dem damals jungen Bistum Seckau„ hochst­ wahrscheinlich aus der Umgebung des Bischofs Heinrich von Zwettl (regierte 1232-1243, vor allem in Friesach, Salzburg und Leibnitz) stammt. Trotzdem mag er auch weiterhin Codex Buranus heillen. Die alteren, auf palaographischer und inhaltlicher Basis beruhenden Thesen zur Herkunftsfrage von Max Bildinger1 bis Ferdinand Bischoff2 sind nicht zuletzt durch hymnologische Uberlegungen Walther Lipp­ hardts erhartet worden.3 Dieser war es auch, der durch Vergleiche eine Reihe von Melodien zu den Carmina burana eruiert4 und damit 1 Max Bildinger, Uber einige Reste der Vagantenpoesie in Osterreich. In: Sitzungsberichte der osterreichischen Akademie der Wissenschaften. Phil.-hist. Kl. 13 (1854) S. 321 (Zuschreibung an die Salzburger Diozese, von der aus die Seckauer gegrilndet wurde). · 2 Vgl. Zusammenfassung in der Einleitung zu: Carmina Burana, Fak­ simile-Ausgabe der Handschrift Clm 4660 und Clm 4660a; hrsg. v. Bernhard Bischoff. Veroff. mittelalterlicher Musikhandschriften Nr. 9 (1967) S. 14ff (hier Lehmanns Lokalisierung »in einem Grenzgebiet zwischen Germanen und Romanen ... etwa Sildtirol« zu »Karnten« modifiziert).
    [Show full text]