ORFF Carmina Burana

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Carl Orff (1895–1982): Carmina Burana Fortuna Imperatrix Mundi Fortune, Empress of the World

Carl Orff was born in 1895 in Munich, where he studied Framed by a prologue and epilogue, the portentous ∞ O Fortuna O Fortune at the Academy of Music, later occupying positions as setting of O Fortuna, a poem that conventionally (chorus) director of music at the Munich Kammerspiele, the laments the fickleness of Fortune and the wheel that Mannheim Nationaltheater and the Landestheater at turns, taking kings to beggary, Orff’s Carmina Burana O Fortuna O Fortune, Darmstadt. In 1919 he returned to Munich and five years is divided into three principal sections. The first of these velut luna like the moon statu variabilis, changeable, later established with Dorothee Günther the celebrates the joys of spring, the second is in the tavern, semper crescis always waxing Güntherschule for gymnastics, music and dance. The with drinking and dicing, and the third is devoted to aut decrescis; or waning; result was his influential Schulwerk, which has had a love. The orchestra used has a large percussion section, vita detestabilis hateful life marked effect on the teaching of music, with the use of including five timpani, three glockenspiel, xylophone, nunc obdurat now is harsh tuned percussion instruments, ostinato rhythms and castanets, ratchet, sleigh bells, triangle, small cymbals, et tunc curat and then is caring creative aims, associated with physical movement. four cymbals, including a suspended cymbal, tamtam, ludo mentis aciem, on a whim; It was Orff’s work as conductor of the Munich Bach three bells, tubular bells, tambourine, two side-drums egestatem, destitution, Society from 1930 to 1935 that led to the composition of and bass drum, with a celesta and two pianos. The potestatem power his best known work, Carmina Burana, a setting of principal soloists are a soprano, tenor and baritone with dissolvit ut glaciem. it melts like ice. secular medieval Latin, French and Middle High a chorus, semi-chorus and boys’ chorus. String parts are German poems from a manuscript preserved originally often percussive in character and the compelling Sors immanis Fate, monstrous et inanis, and empty, in the Bavarian Abbey of Benediktbeuren. Intended as a rhythms are notated in such a way as to give the rota tu volubilis, you are a turning wheel, stage cantata, the work marked a new beginning for Orff impression of considerable freedom. status malus, an evil condition as a composer, and his later compositions explored still The scene is set for spring, with the semi-chorus vana salus vain for well-being further this very characteristic form of Veris leta facies in characteristic rhythm, accompanied semper dissolubilis, ever melting away, Gesamtkunstwerk, drawing on a variety of sources, from by sustained notes from the upper woodwind and celesta obumbrata in shadow ancient Greece to medieval Europe. and followed by the baritone welcome to the warmth of et velata and veiled The texts that Orff chose to set in Carmina Burana the sun, accompanied by sustained notes and harmonics michi quoque niteris; you weigh down on me too; were drawn from a manuscript now dated to the late from the strings. Bells and glockenspiel usher in the full nunc per ludum now through gambling thirteenth century, one of the most extensive and chorus in further celebration. The second part of the dorsum nudum I have my back bare remarkable collections of medieval Latin poems, section devoted to spring, Uf dem anger (On the Green), fero tui sceleris. through your evil-doing. mingled with French and German (this last group in starts with a vigorous dance in asymmetrical rhythm, the Sors salutis Fate in well-being Bavarian dialect) confirming their local origin. Perhaps burden of which passes from the strings to the wind. et virtutis and in virtue copied at the Abbey itself, the ordered collection is of There is contrast between chorus and semi-chorus in the michi nunc contraria, is now against me; variable literary merit and scribal accuracy, but always setting of Floret silva nobilis. The sopranos of the latter est affectus broken, of considerable interest in its reflection of the tastes of introduce the words of the first German poem, Mary et defectus weakened, the time, particularly in the tendency towards the Magdalene’s song, with the full chorus adding semper in angaria. always in bondage. secular. The power that lies behind the music of intervening passages that are hummed. Muted strings Hac in hora In this hour Carmina Burana is primitive, even barbarous. Insistent introduce a Round Dance, followed by the plucked notes sine mora without delay rhythms, ostinato repetitions and a complete avoidance of the violins that start Swaz hie gat umbe, with the corde pulsum tangite; pluck the strings; of chromatic or atonal musical idioms, make the work semi-chorus adding its seductive Chume, chum, geselle quod per sortem for through Fate compelling, unforgettable and physically attractive in its min, before the first verse returns. Trumpets and sternit fortem, the strong are laid low, simple energy and strength. It was first staged in trombones lead to the final Were diu werlt alle min. mecum omnes plangite! all of you weep with me! Frankfurt am Main in 1937. Insistent dotted rhythms in the repeated pattern of

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£ Dulcissime Sweetest one the string accompaniment support the baritone solo that energetic Mandaliet. Male voices alone, in an Allegro opens the tavern scene, while the ironic lament of the buffo, offer Si puer cum puellula in a six-part texture. Dulcissime, Sweetest! Ah! roasted swan, introduced by a bassoon, allows the tenor, This is followed by a double-chorus setting of Veni, totam tibi subdo me! I give myself to you totally! shadowed by a muted trumpet, to ascend to the highest veni, venias, accompanied by the two pianos and Blanziflor et Helena Blanchefleur and Helena register. Ego sum abbas gives the baritone initial percussion. A measure of serenity is restored for the freedom, his song punctuated by muted brass and soprano In trutina, marked molto amoroso and echoed ¢ Ave formosissima Hail, most beautiful percussion. The chorus ends the section with In taberna gently by two flutes. Joy is unconfined in the vigorous quando sumus, continuing the common topic of such choral Tempus est iocundum, with its use of contrasting Ave formosissima, Hail, most beautiful, verses, the predictable effects of gambling, as the solo verses and verses for boys’ voices. The following gemma pretiosa, precious jewel, gambler loses the shirt off his back. The drinkers’ litany soprano Dulcissime, accompanied by a sustained note on ave decus virginum, hail, ornament of virgins, starts in music-hall style, ending in a final shout. muted lower strings, is delivered with complete and virgo gloriosa, glorious virgin, Cours d’amour opens tenderly, with the voices of appropriate abandon and the section ends with the ave mundi luminar, hail, light of the world, children leading to the mock innocence of the soprano monumental hymn-like praise of the heroines ave mundi rosa, hail, rose of the world, solo. Syncopated string writing introduces the following Blanchefleur and Helen. This leads without a pause to Blanziflor et Helena, Blanchefleur and Helen, Venus generosa! noble Venus! baritone solo, Dies, nox et omnia, with its interpolated the ominous return of O Fortuna, with which the work French words allowing more extravagant ornamentation had begun. in a higher register. Stetit puella is entrusted to the soprano soloist and the rhythm changes for the baritone Circa mea pectora, echoed by the chorus, before the Keith Anderson

Claire Rutter Born in South Shields, County Durham, in the north of England, the soprano Claire Rutter studied in London at the Guildhall School of Music and Drama and at the National Opera Studio sponsored by The Friends of English National Opera. She won numerous awards, which enabled her to study with Ileana Cotrubas. She now studies with Gerald Martin Moore. She was nominated for the Maria Callas Award following her American début as Fiordiligi in Così fan tutte for Dallas Opera. She has also sung Tosca, Elvira in Ernani and Amelia in Un ballo in maschera for English National Opera; Violetta in La traviata for Den Norske Opera, Oslo; Donna Anna in Don Giovanni for both Opéra de Montpellier and English National Opera; the title rôle in Verdi’s Giovanna d’Arco at the Ludwigshafen Festival with Opera North; Lucia di Lammermoor with the Royal Scottish National Orchestra; Mimì in La Bohème in Hong Kong and in the Beijing International Festival; Amelia in Un ballo in maschera for Florida Grand Opera and Abigaille in Nabucco for Opera North. She was for three years a principal with Scottish Opera. Her recordings include highlights from La Bohème and Madama Butterfly with the Royal Philharmonic Orchestra and Holst’s The Mystic Trumpeter with the Royal Scottish National Orchestra, as well as Lennox Berkeley’s operas Ruth and A Dinner Engagement. She regularly broadcasts both staged opera and opera gala concerts on BBC Radio. Claire Rutter’s concert performances have included Strauss’s Vier letzte Lieder, Verdi’s Requiem, Rossini’s Stabat Mater and Petite Messe Solennelle, Vaughan Williams’s A Sea Symphony, Beethoven’s Symphony No. 9, Carl Orff’s Carmina Burana, Tippett’s A Child of Our Time, Canteloube’s Songs of the Auvergne, and Brahms’s Requiem in appearances at all of Britain’s major concert halls, with orchestras such as the Royal Philharmonic, Royal Liverpool Philharmonic, BBC Scottish, Hallé, Royal Scottish National, English Chamber and Scottish Chamber orchestras.

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Tom Randle totus ardeo, I am all aflame, The tenor Tom Randle made his début with English National Opera as Tamino in The Magic Flute, a rôle he has novus, novus amor new, new love repeated with great success at Berlin, Glyndebourne Festival Opera, in Hamburg, in New Zealand and at the est, quo pereo. it is, with which I die. Covent Garden Festival. Well known for his vivid and committed stage portrayals and a unique ability to embrace (Women) a wide variety of repertoire, he has emerged as one of the most exciting and versatile artists of his generation. Operatic engagements include Tom Rakewell in The Rake’s Progress (Théâtre des Champs-Elysées, Amsterdam, Mea mecum ludit My virginity Lausanne, Bordeaux), Benedict in Beatrice and Benedict (Welsh Natioanl Opera), Ferrando in Così fan tutte virginitas, makes sport with me, (Geneva, Brussels), Don Ottavio (Munich, Los Angeles), Pelléas (Paris, London), Idomeneo (Scottish Opera), mea me detrudit my innocence Katya Kabanova (WNO), Achilles in King Priam, (English National Opera, Reisopera), The Fairy Queen (Aix-en- simplicitas. holds me back. Provence), Solimano (Innsbruck Festival, Berlin), the title rôle in Peter Grimes (Antwerp), Essex in Gloriana, Johnny Inkslinger in Paul Bunyan and the Fool in Gawain (Royal Opera House). For The Netherlands Opera he (Soprano and Boys) appeared in Peter Stein’s production of Henze’s Bassarids. He created the rôles of Nunez in Turnage’s The Country of the Blind and Judas in Birtwistle’s The Last Supper. Amongst his recordings are the title rôle in Handel’s Oh, oh, oh, Oh! Oh! Oh! Samson, Vaughan Williams’s A Cotswold Romance and orchestral works by Luigi Nono. His film rôles include totus floreo! I am all aflower! iam amore virginali Now with virgin love Molqui in the ground-breaking film version of John Adams’ Death of Klinghoffer for Channel 4 Films, released on totus ardeo, I am all aflame, DVD, Essex in Gloriana (BBC TV) and Monostatos for Kenneth Branagh’s The Magic Flute. novus, novus amor new, new love est, quo pereo. it is, with which I die. Markus Eiche The baritone Markus Eiche studied with Bernhard Jaeger-Böhm and Carl Davies at the Music Academy of (Chorus) Stuttgart. He has won several scholarships and has been prize-winner of the International Singing Competition Veni, domicella, Come, damsel, “Francesco Viñas” in Barcelona. He made his début at La Scala, Milan, in 2000, and has appeared at the Biennale cum gaudio, with joy, in Munich, in Amsterdam, Antwerp, Enschede, Madrid, Barcelona, at the Komische Oper in Berlin, the Dresden veni, veni, pulchra, come, come, fair one, Semperoper and the Salzburg Festival. He has collaborated with distinguished conductors and colleagues and since iam pereo. I am dying! the 2001/02 season has been a member of the National Theatre Mannheim. Markus Eiche is a highly successful concert singer, with a repertoire that ranges from the Baroque to the contemporary. His recordings include a release (Baritone, Boys and Chorus) in the Naxos Schubert Lieder series (Naxos 8.554799). Oh, oh, oh, Oh! Oh! Oh! totus floreo! I am all aflower! iam amore virginali Now with virgin love totus ardeo, I am all aflame, novus, novus amor new, new love est, quo pereo. it is, with which I die.

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™ Tempus est iocundum Joyful is the time Highcliffe Junior Choir (solo soprano, baritone, boys & chorus) Director: Mary Denniss From the time, in 1969, when a group of ex-Highcliffe Junior School pupils started coming back to sing with their Tempus est iocundum, Joyful is the time, o virgines, O maidens, former teacher on Friday afternoons after school, Highcliffe Junior Choir, based in Highcliffe, Dorset, has been a modo congaudete rejoice together then, musical force to be reckoned with. That teacher was Mary Denniss and since those early days she has given vos iuvenes. young men! countless children the chance to experience the joy, excitement, tension and satisfaction that being a member of a choir such as this can bring. Indeed, several past members have gone on to enjoy successful professional music (baritone) careers. Over the years the Choir has appeared at some very prestigious venues including the Royal Albert Hall, the Oh, oh, oh, Oh! Oh! Oh! Barbican Hall and the Queen Elizabeth Hall in London and, more locally, Southampton Guildhall, Poole Arts totus floreo! I am all aflower! Centre and Bournemouth’s International Centre, Winter Gardens and Pavilion. All these as well as numerous iam amore virginali Now with virgin love concerts in smaller halls, cathedrals and churches in this area and further afield. The Choir has also made many totus ardeo, I am all aflame, radio and television broadcasts such as Radio Three’s Advent Calendar, Radio Two’s Sunday Half Hour, Mary novus, novus amor new, new love O’Hara and Friends, Come Sunday and the BBC’s Proms. They also featured in BBC’s coverage of the Sainsbury est, quo pereo. it is, with which I die. Choir of the Year Competition finals where they won the title of Youth Choir of the Year, 1996. (women) Bournemouth Symphony Youth Chorus Mea me confortat My promise Director: Andrew Knights promissio, comforts me, The Bournemouth Symphony Youth Choir started life in 1997 as the Dorset Youth Choir, as the result of a joint mea me deportat my refusal project between the Dorset Music Service, the Bournemouth Symphony Chorus and the Bournemouth Symphony negatio. casts me down. Orchestra. The project was launched with two major choral workshops for schools led by Neville Creed, the Choral Director of the Bournemouth Symphony Chorus at the time. Following an audition process, regular rehearsals (soprano and boys) began in September 1997. The choir’s first public appearance was at the annual Christmas Carol concert with the Bournemouth Symphony Chorus and the Bournemouth Sinfonietta. They have since then sung many times with the Oh, oh, oh, Oh! Oh! Oh! Bournemouth Orchestras and the Chorus. Among the works performed have been concert performances of Tosca, totus floreo! I am all aflower! Britten’s Spring Symphony under Richard Hickox, family Adventure Concerts, and several performances of Orff’s iam amore virginali Now with virgin love totus ardeo, I am all aflame, Carmina Burana, one of which, in 1999, was with the Malcolm Sargent Festival Choir. The chorus has also given novus, novus amor new, new love concerts with the Dorset Youth Orchestra, including Holst’s Planets suite and Vivaldi’s Gloria, and, along with est, quo pereo. it is, with which I die. other Dorset County music groups, they took part in a special Millennium Celebration concert in the Royal Albert Hall at Easter 2000. They also give frequent concerts on their own locally to raise money for various charities. (men) Bournemouth Symphony Chorus Tempore brumali In wintertime Director: Greg Beardsell vir patiens, man is patient, The Bournemouth Symphony Chorus, founded in 1911 by Sir Dan Godfrey, has become established as one of the animo vernali with the breath of spring country’s leading large vocal ensembles. It gives regular concerts with the Bournemouth Symphony Orchestra in lasciviens. he lusts. Bournemouth, Poole, London and throughout Southern England, records extensively, and has appeared at the Proms and many other Festivals. It tours abroad regularly, with recent visits to America, Italy, Israel and Paris. It (baritone) won a Grammy Award in America for its recording of Belshazzar’s Feast. For its ninetieth birthday in 2001, it Oh, oh, oh, Oh! Oh! Oh! commissioned a major new cantata, Voices of Exile from the composer Richard Blackford, with new poems by totus floreo! I am all aflower! Tony Harrison, with first performances in Poole and at the Royal Festival Hall. iam amore virginali Now with virgin love

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Marin Alsop Mandaliet, Mandaliet, Principal Conductor of the Bournemouth Symphony Orchestra since 2002, Marin Alsop has been designated the Mandaliet, mandaliet, next Music Director of the Baltimore Symphony. She won the Royal Philharmonic Society Conductor of the Year min geselle my lover chumet niet. comes not. award in 2002 and was named The Gramophone magazine’s Artist of the Year in 2003. She regularly conducts the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, and Los Angeles Philharmonic, and recent ( Si puer cum puellula If a boy with a girl guest engagements include the Boston Symphony Orchestra, London Symphony Orchestra, NDR Hamburg and (male chorus) Munich Philharmonic. Marin Alsop studied at Yale and at the Juilliard School and won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein and Seiji Ozawa. Her recordings for Si puer cum puellula If a boy with a girl Naxos include the Brahms Symphonies and Overtures with the London Philharmonic, the complete orchestral moraretur in cellula, were to stay in a little room, works of Samuel Barber with the Royal Scottish National Orchestra and Tchaikovsky’s Fourth Symphony with the felix coniunctio. happy would be their coupling. Colorado Symphony. Acclaimed recordings for Naxos with the Bournemouth Symphony Orchestra include Amore suscrescente As Love rises up, releases of works by Bernstein, John Adams (8.559031), Philip Glass (8.559202) and Bartók (8.557433). pariter e medio so from between them avulso procul tedio, restraint is driven far away, fit ludus ineffabilis sport beyond word begins membris, lacertis, labiis in limbs, arms and lips.

) Veni, veni, venias Come, come, O come (double 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 Fair is your face, oculorum acies, the brightness of your eyes, capillorum series, the braiding of your hair, o quam clara species! O how lovely a sight!

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

¡ In trutina In the balance

In trutina mentis dubia In the swaying balance of my mind fluctuant contraria contraries waver lascivus amor et pudicitia. wanton love and modesty. Sed eligo quod video, But I choose what I see, collum iugo prebeo: and offer my neck to the yoke; ad iugum tamen suave transeo. I yield to a yoke that yet is sweet.

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& Stetit puella A girl stood Carl Orff (1895–1982) (soprano solo) Carmina Burana Stetit puella A girl stood # rufa tunica; in a red tunic; Fortune, impératrice du monde Je suis l’abbé de Cucugnan si quis eam tetigit, if anyone touched it, 1 O Fortune $ Quand nous sommes à la taverne tunica crepuit. the tunic rustled. 2 Je pleure les coups de la Fortune Eia. Eia! La cour des amours Au printemps % L’amour vole alentour Stetit puella A girl stood 3 Le joyeux visage du printemps ^ Le jour, la nuit et tout le reste tamquam rosula; like a little rose: 4 Le soleil réchauffe toutes choses & Il y avait une fille facie splenduit, her face was shining 5 Voici le printemps bienvenu * Ma poitrine se gonfle os eius floruit. and her mouth blossomed. ( Si un garçon avec une fille Eia. Eia! Sur la prairie ) Viens, ah viens, viens donc 6 Danse ¡ Dans mon âme incertaine 7 ™ * Circa mea pectora In my breast La noble forêt fleurit La saison est douce 8 £ (baritone and chorus) Colporteur, donne-moi du fard Mon doux ami 9 Elles dansent la ronde Circa mea pectora In my breast 0 Si le monde entier m’appartenait Blanchefleur et Hélène multa sunt suspiria there are many sighs ¢ Salut, toi la plus belle de tua pulchritudine, for your beauty, A la taverne que me ledunt misere. which hurt me sorely. ! Bouillant en mon for Fortune, impératrice du monde Ah! Ah! @ Autrefois j’habitais le lac ∞ O Fortune Mandaliet, Mandaliet, Mandaliet mandaliet, Carl Orff naquit en 1895 à Munich ; il y étudia à de la Société Bach de Munich de 1930 à 1935 qui mena min geselle my lover l’Académie de Musique, occupant plus tard les postes de à la composition de son œuvre la plus célèbre, Carmina chumet niet. comes not. directeur musical de la Kammerspiele de Munich, du Burana. Elle met en musique des poèmes médiévaux Tui lucent oculi Your eyes shine Nationaltheater de Mannheim et du Landestheater de séculaires en latin, en français et en haut allemand sicut solis radii, like the rays of the sun, Darmstadt. En 1919, il rentra à Munich et cinq ans plus médiéval (langue datant d’entre 1200 et 1500) tirés d’un sicut splendor fulguris like the brightness of lightning tard fonda avec Dorothee Günther la Güntherschule, manuscrit préservé à l’origine dans l’abbaye bavaroise lucem donat tenebris. that gives light to the darkness. école d’eurythmie (discipline dérivée de l’euthénisme, de Benediktbeuren. Conçu comme une cantate de scène, Ah! Ah! principe censé être plus humaniste que l’eugénisme, très l’ouvrage marqua pour Orff un nouveau départ en tant en vogue chez les intellectuels munichois des années que compositeur, et ses œuvres ultérieures allèrent Mandaliet Mandaliet, 1920-30) où étaient enseignées la gymnastique, la encore plus loin dans l’exploration de cette forme très Mandaliet, mandaliet, musique et la danse. C’est de là que découla son caractéristique de Gesamtkunstwerk, s’inspirant de min geselle my lover Schulwerk, ouvrage influent qui laissa une empreinte sources diverses, de la Grèce antique à l’Europe chumet niet. comes not. importante dans le domaine de l’enseignement de la médiévale. Vellet deus, vellent dii May God grant, may the gods grant musique ; faisant appel à des percussions accordées et Les textes qu’Orff choisit pour Carmina Burana quod mente proposui: what I had in mind: des rythmes ostinato dans un souci de créativité, il étaient tirés d’un manuscrit maintenant daté de la fin du ème ut eius virginea that I might unbind associe la musique au mouvement physique. XIII siècle, l’un des recueils les plus vastes et reserassem vincula. her virgin chains. Ce fut le travail d’Orff en tant que chef d’orchestre remarquables de poèmes latins médiévaux, entremêlés Ah! Ah! 8.570033 22 7 8.570033 570033bk USA 17/11/06 5:53 pm Page 8

de français et d’allemand, ce dernier groupe dans un accompagné par des notes tenues et des III Cour d’amours The Court of Love dialecte bavarois qui en confirme l’origine harmoniques aux cordes. Les cloches et le glockenspiel locale. Probablement copiée sur place à l’abbaye, la ouvrent la voie au chœur au complet pour des % Amor volat undique Love flies everywhere série de poèmes telle qu’elle est agencée présente une célébrations supplémentaires. La seconde partie de la (boys) valeur littéraire et une précision scripturale variables, section consacrée au printemps, Uf dem anger (Sur la Amor volat undique, Love flies everywhere mais toujours d’un intérêt considérable du fait qu’elle prairie), débute par une vigoureuse danse sur un rythme captus est libidine. seized by desire. reflète les goûts de l’époque, notamment dans ses asymétrique qui des cordes est ensuite confié aux vents. Iuvenes, iuvencule Young men, young women tendances séculaires. La puissance qui émane de la On rencontre un contraste entre le chœur et le petit coniunguntur merito. are duly brought together. musique de Carmina Burana est primitive, voire chœur dans le passage Floret silva nobilis (La noble barbare. Des rythmes insistants, des répétitions ostinato forêt fleurit). Les sopranos du petit chœur introduisent (soprano) et une complète absence d’idiomes musicaux les paroles du premier poème allemand, le chant de chromatiques ou atonaux rendent cette œuvre Marie Madeleine, auquel viennent s’ajouter des Siqua sine socio, Any girl without a lover captivante, inoubliable et physiquement séduisante, interventions à bouche fermée du chœur complet. Les caret omni gaudio; lacks all pleasures, notamment grâce à son énergie et sa force d’une grande cordes en sourdine introduisent une Ronde, suivies par tenet noctis infima she holds the depth of night simplicité. Elle fut créée à Francfort en 1937. les pizzicati des violons qui ouvrent Swaz hie gat umbe sub intimo in her very heart Encadré par un prologue et un épilogue, le (Elles dansent la ronde), avec le petit chœur ajoutant son cordis in custodia: confined. grandiloquent O Fortuna, sur un poème qui déplore de séduisant Chume, chum, geselle min (Viens, viens, ma (boys) manière conventionnelle l’inconstance de la Fortune, chérie) avant que ne revienne le premier vers. Les dont la roue toujours en mouvement transforme des rois trompettes et les trombones mènent au Were diu werlt fit res amarissima. it is a most bitter thing. en mendiants, la Carmina Burana d’Orff est divisée en alle min (Si le monde entier m’appartenait) final. trois sections principales. La première d’entre elle Des rythmes pointés insistants dans le schéma ^ Dies, nox et omnia Day, night and everything exalte les joies du printemps, la seconde se déroule à la répété de l’accompagnement des cordes soutiennent le (baritone solo) taverne, où l’on boit et joue aux dés, et la troisième est solo de baryton qui ouvre la scène de la taverne, tandis consacrée à l’amour. L’orchestre employé comporte une que l’ironique complainte du cygne rôti, introduite par Dies, nox et omnia Day, night and everything importante section de percussions, dont cinq timbales, un basson, permet au ténor, épaulé par une trompette en michi sunt contraria; are all against me, trois glockenspiels, un xylophone, des castagnettes, une sourdine, de monter jusqu’au registre le plus aigu. Ego virginum colloquia the talk of girls crécelle, des grelots, un triangle, de petites cymbales, sum abbas (Je suis l’abbé) donne d’abord toute liberté me fay planszer, makes me weep, quatre cymbales dont un gong, un tamtam, trois cloches, au baryton, dont le chant est ponctué par des cuivres et oy suvenz suspirer, and often sigh, plu me fay temer. and, more, frightens me. des cloches tubulaires, un tambourin, deux caisses des percussions en sourdine. Le chœur conclut la claires et un tambour de basse, avec un célesta et deux section avec In taberna quando sumus (Quand nous O sodales, ludite, O friends, make sport, pianos. Les solistes principaux sont une soprano, un sommes à la taverne), continuant à traiter le sujet vos qui scitis dicite you who know, speak, ténor et un baryton avec un chœur, un petit chœur et un commun aux vers de la seconde section, les inévitables michi mesto parcite, spare me in my sorrow, chœur de voix blanches. Les parties de cordes conséquences du jeu, et en effet, le joueur ira jusqu’à grand ey dolur, great is my grief, présentent souvent un caractère de percussion et les perdre sa chemise. La litanie des buveurs commence attamen consulite but only advise me, rythmes, irrésistibles, sont notés de manière à donner dans le style du music-hall et s’achève dans un cri. per voster honur. by your honour. une impression de grande liberté. Cour d’amours débute tendrement, avec les voix La scène est prête pour le printemps, avec le petit d’enfants menant à la feinte innocence du solo de Tua pulchra facies Your beautiful face, chœur Veris leta facies (Le joyeux visage du printemps) soprano. Une écriture pour cordes syncopée introduit le me fay planszer milies, makes me weep a thousand times, sur un rythme caractéristique, accompagné par des notes solo de baryton qui suit, Dies, nox et omnia (Le jour, la pectus habet glacies. your bosom is of ice. A remender As a remedy, tenues aux bois aigus et au célesta et suivi par le chant nuit et tout le reste), avec son interpolation de mots statim vivus fierem I would live again at once de bienvenue du baryton à la chaleur du soleil, français permettant une ornementation encore plus per un baser. for a kiss. 8.570033 8 21 8.570033 570033bk USA 17/11/06 5:53 pm Page 20

Octies pro fratribus perversis, Eight times for the misguided brethren, extravagante dans un registre plus aigu. Stetit puella (Il sans mélange dans le vigoureux choral Tempus est nonies pro monachis dispersis, nine times for the wandering monks, y avait une fille) est confié à la soliste soprano et le iocundum (La saison est douce), avec son utilisation de decies pro navigantibus ten times for those at sea, rythme change pour le Circa mea pectora (Ma poitrine vers solistes contrastant avec des vers pour voix undecies pro discordaniibus, eleven times for the quarrellers, duodecies pro penitentibus, twelve times for the penitent, se gonfle) du baryton, auquel le chœur fait écho avant blanches. Le Dulcissime pour soprano qui suit, tredecies pro iter agentibus. thirteen times for the travellers. l’énergique Mandaliet. Les voix d’hommes seules, dans accompagné par une note tenue aux cordes graves en Tam pro papa quam pro rege As to the Pope so to the King un Allegro buffo, offrent Si puer cum puellula (Si un sourdine, est émis avec un abandon complet et pertinent, bibunt omnes sine lege. they all drink without restraint. garçon avec une fille) dans une texture à six parties. Le puis la section s’achève sur les louanges, comme un passage suivant, Veni, veni, venias (Viens, ah viens, hymne monumental, des héroïnes Blanchefleur et Bibit hera, bibit herus, The mistress drinks, the master drinks, viens donc) est écrit pour double chœur accompagné par Hélène. C’est alors que sans interruption, revient le bibit miles, bibit clerus, the soldier drinks, the priest drinks, les deux pianos et les percussions. Une certaine sérénité menaçant O Fortuna qui avait ouvert l’ouvrage. bibit ille, bibit illa, he drinks, she drinks, est réintroduite par le passage de soprano In trutina bibit servus cum ancilla, the servant drinks with the maid, (Dans mon âme incertaine), marqué molto amoroso, bibit velox, bibit piger, the swift man drinks, the lazy man drinks, auquel deux flûtes apportent un tendre écho. La joie est Version française : David Ylla-Somers 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 magnus. the rough 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 ista, bibit ille, this woman drinks, that man drinks, bibunt centum, bibunt mille. a hundred drink, a thousand drink.

Parum sexcente nummate Six hundred pence would hardly durant, cum immoderate be enough, if everyone bibunt omnes sine meta. drinks immoderately and without measure. Quamvis bibant mente leta, However much they cheerfully drink sic nos rodunt omnes gentes everyone speaks ill of us, et sic erimus egentes. and thus we are destitute. Qui nos rodunt confundantur May those who speak ill of us be damned et cum iustis non scribantur. and may they not be counted with the just. Io! Io!

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1. Fortuna Imperatrix Mundi 1. Fortune, Empress of the World # Ego sum abbas I am the abbot (baritone solo & chorus) 1 O Fortuna O Fortune (Chorus) Ego sum abbas Cucaniensis I am the abbot of Cockaigne et consilium meum est cum bibulis, and my council is of drinkers, O Fortuna O Fortune, et in secta Decii voluntas mea est, and I wish to be in the order of Decius, velut luna like the moon et qui mane me quesierit in taberna, and whoever seeks me out early in the tavern, statu variabilis, changeable, post vesperam nudus egredietur, after Vespers will leave naked, semper crescis always waxing et sic denudatus veste clamabit: and thus stripped of his clothes he will cry: aut decrescis; or waning; vita detestabilis hateful life Wafna, wafna! Woe! Woe! nunc obdurat now is harsh quid fecisti sors turpissima? what have you done, vilest Fate? et tunc curat and then is caring Nostre vite gaudia Our life’s joys ludo mentis aciem, on a whim; abstulisti omnia! you have taken quite away! egestatem, destitution, potestatem power $ In taberna quando sumus When we are in the tavern dissolvit ut glaciem. it melts like ice. (male chorus)

Sors immanis Fate, monstrous In taberna quando sumus When we are in the tavern, et inanis, and empty, non curamus quid sit humus, we care not that we are but dust, rota tu volubilis, you are a turning wheel, sed ad ludum properamus, but we hurry to gaming, status malus, an evil condition cui semper insudamus. at which we always sweat. vana salus vain for well-being Quid agatur in taberna What happens in the tavern, semper dissolubilis, ever melting away, ubi nummus est pincerna, where money is host, obumbrata in shadow hoc est opus ut queratur, you must ask, et velata and veiled si quid loquar, audiatur. and hear whatever I say. michi quoque niteris; you weigh down on me too; nunc per ludum now through gambling Quidam ludunt, quidam bibunt, Some gamble, some drink, dorsum nudum I have my back bare quidam indiscrete vivunt. some live immorally. fero tui sceleris. through your evil-doing. Sed in ludo qui morantur, But of those who spend time gambling, ex his quidam denudantur some are stripped bare, Sors salutis Fate in well-being quidam ibi vestiuntur, some find their clothes here, et virtutis and in virtue quidam saccis induuntur. some are dressed in sacks. michi nunc contraria, is now against me; Ibi nullus timet mortem Here no-one fears death, est affectus broken, sed pro Baccho mittunt sortem: but they throw the dice in the name of Bacchus. et defectus weakened, semper in angaria. always in bondage. Primo pro nummata vini, First to the wine-seller Hac in hora In this hour ex hac bibunt libertini; the libertines drink, sine mora without delay semel bibunt pro captivis, one for the prisoners, corde pulsum tangite; pluck the strings; post hec bibunt ter pro vivis, then thrice for the living, quod per sortem for through Fate quater pro Christianis cunctis four times for all Christians, sternit fortem, the strong is laid low, quinquies pro fidelibus defunctis, five times for the faithful departed, mecum omnes plangite! all of you weep with me! sexies pro sororibus vanis, six times for the foolish sisters, septies pro militibus silvanis. seven times for the gentlemen of the woods.

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magis quam salutis, rather than for salvation, 2 Fortune plango vulnera I lament Fortune’s blows mortuus in anima dead in my soul (chorus) curam gero cutis. I look to the flesh. Fortune plango vulnera I lament Fortune’s blows @ Cignus ustus cantat The Roast Swan Sings stillantibus ocellis with weeping eyes, (tenor solo) quod sua michi munera for her presents to me subtrahit rebellis. she a turncoat takes away. Olim lacus colueram, Once I dwelt on lakes, Verum est, quod legitur, It is true, as it is written, olim pulcher extiteram, once I was beautiful fronte capillata, that she has fine tresses, dum cignus ego fueram. when I was a swan. sed plerumque sequitur but often there follows Occasio calvata. bald chance. (chorus) In Fortune solio On Fortune’s throne Miser, miser! Forlorn, forlorn! sederam elatus, I sat, on high modo niger Now black prosperitatis vario with prosperity’s varied et ustus fortiter! and roasting fiercely! flore coronatus; garland crowned; quicquid enim florui yet however I flourished (tenor solo) felix et beatus, happy and blessed, nunc a summo corrui now have I fallen from the height Girat, regirat garcifer; The kitchen-lad turns and turns the spit again; gloria privatus. deprived of glory. me rogus urit fortiter; the pyre burns me fiercely; propinat me nunc dapifer, now the steward serves me up. Fortune rota volvitur: Fortune’s wheel turns: descendo minoratus; down I go, made less; (chorus) alter in altum tollitur; another is raised high; nimis exaltatus too high up Miser, miser! Forlorn, forlorn! rex sedet in vertice sits the king at the top, modo niger Now black caveat ruinam! let him beware of a downfall et ustus fortiter! and roasting fiercely! nam sub axe legimus for under the wheel we see Hecubam reginam. Queen Hecuba. (tenor solo)

Nunc in scutella iaceo, Now on a dish I lie, et volitare nequeo and cannot fly, dentes frendentes video: I see gnashing teeth:

(Male Chorus)

Miser, miser! Forlorn, forlorn! modo niger Now black et ustus fortiter! and roasting fiercely!

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I Primo Vere Spring II In Taberna In the Tavern ! Estuans interius Burning Inside 3 Veris leta facies The cheerful face of spring (baritone solo) (semi-chorus) Estuans interius Burning inside Veris leta facies The cheerful face of spring ira vehementi with violent anger, mundo propinatur, is restored to the world, in amaritudine in bitterness hiemalis acies winter’s sharp cold loquor mee menti: I speak in my mind: victa iam fugatur, conquered, now is put to flight. factus de materia, made from matter, in vestitu vario In varied colours cinis elementi of the element of ash, Flora principatur, Flora rules, similis sum folio, I am like a leaf nemorum dulcisono in the sweet-sounding de quo ludunt venti. with which the winds sport. que cantu celebratur. song of the groves is she praised. Ah! Ah! Cum sit enim proprium For since it is proper viro sapienti for a wise man Flore fusus gremio Lying in Flora’s lap supra petram ponere to build on rock Phebus novo more Phoebus again sedem fundamenti, the foundations, risum dat, hac vario smiles, and she with varied stultus ego comparor foolish, I am like iam stipate flore. flowers now is decked. fluvio labenti, a flowing stream, Zephyrus nectareo Zephyrus with nectared sub eodem tramite which on the same course spirans in odore, scent breathing, nunquam permanenti. never stays. certatim pro bravio in contest for the prize curramus in amore. let us run, the prize of love. Feror ego veluti I am borne like Ah! Ah! sine nauta navis, a ship without a sailor, ut per vias aeris as through the paths of the air Cytharizat cantico With a song to the lute sings vaga fertur avis; a wandering bird is borne; dulcis Philomena, sweet Philomela, the nightingale, non me tenent vincula, chains do not hold me, flore rident vario with varied flowers laugh non me tenet clavis, keys do not hold me, prata iam serena, the meadows, now serene, quero mihi similes I seek out people like me salit cetus avium a flock of birds rises et adiungor pravis. and consort with the wicked. silve per amena, through the pleasant woods, chorus promit virginum a chorus of maidens offers Mihi cordis gravitas Heaviness of heart to me iam gaudia millena. now a thousand joys. res videtur gravis; seems a weighty burden; Ah! Ah! iocis est amabilis it is pleasant to joke dulciorque favis; and sweeter than honeycombs; 4 Omnia sol temperat The sun rules everything quicquid Venus imperat, whatever Venus commands (baritone solo) labor est suavis, is pleasant labour, que nunquam in cordibus she never makes her home Omnia sol temperat The sun rules everything, habitat ignavis. in sluggish hearts. purus et subtilis, pure and fine, novo mundo reserat it reveals to the new world Via lata gradior I travel a broad path faciem Aprilis, the face of April, more iuventutis as the young do, ad amorem properat to love hastens inplicor et vitiis I take part in vices, animus herilis man’s soul immemor virtutis, forgetting virtue, et iocundis imperat and over delights has command voluptatis avidus eager for worldly pleasure 8.570033 12 17 8.570033 570033bk USA 17/11/06 5:53 pm Page 16

Suzer rosenvarwer munt, Sweet rosy mouth, deus puerilis. the boyish god. chum un mache mich gesunt come and make me better, chum un mache mich gesunt, come and make me better, Rerum tanta novitas Such newness of things suzer rosenvarwer munt. sweet rosy mouth. in solemni vere in celebrating spring et veris auctoritas and spring’s authority Swaz hie gat umbe Those who here go round jubet nos gaudere; bids us rejoice; (chorus) vias prebet solitas, it shows us our accustomed paths, et in tuo vere and in your spring Swaz hie gat umbe, Those who here go round fides est et probitas is faith and honest promise daz sint alles megede, are all maidens, tuum retinere. to keep your own. die wellent ân man they want to be without a man allen disen sumer gan! all summer long. Ama me fideliter, Love me faithfully! Ah! Sla! Ah! Sla! fidem meam nota: Take note of my faithfulness: de corde totaliter with all my heart 0 Were diu werlt alle min Were all the world mine et ex mente tota and all my mind, (chorus) sum presentialiter I am with you absens in remota, though absent and far away. Were diu werlt alle min Were all the world mine quisquis amat taliter, Whoever loves so much von deme mere unze an den Rin from the ocean to the Rhine, volvitur in rota. turns on the wheel. des wolt ih mih darben, I would give it up daz diu chünegin von Engellant to have the Queen of England 5 Ecce gratum Behold, the pleasant spring lege an minen armen. Hei! lie in my arms. Hey! (Chorus)

Ecce gratum Behold, the pleasant et optatum and longed-for Ver reducit gaudia, spring brings back joys, purpuratum decked in purple floret pratum, the meadow flowers, Sol serenat omnia. the Sun brings light to everything, Iam iam cedant tristia! now, now let sadness give place! Estas redit, Summer returns, nunc recedit now departs Hyemis sevitia. the harshness of winter. Ah! Ah!

Iam liquescit Now there melts et decrescit and lessens grando, nix et cetera; hail, snow and the rest, bruma fugit, winter flies, et iam sugit and now sucks Ver Estatis ubera; Spring at Summer’s breasts; illi mens est misera, wretched is his mind qui nec vivit, who neither lives nec lascivit nor lusts sub Estatis dextera. under summer’s ruling hand.

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Ah! Ah! 8 Chramer, gip die varwe mir Pedlar, give me colour (semi-chorus) Gloriantur They glory et letantur and rejoice Chramer, gip die varwe mir, Pedlar, give me colour in melle dulcedinis, in the honey of sweetness die min wengel roete, to redden my cheeks, qui conantur, who try da mit ich die jungen man so that I can make the young men ut utantur to use an ir dank der minnenliebe noete. love me, whether they will or no. premio Cupidinis: Cupid’s prize; Seht mich an, Look at me, simus jussu Cypridis let us at the bidding of Cyprian Venus jungen man! young men! gloriantes glory lat mich iu gevallen! Let me pleasure you! et letantes and rejoice pares esse Paridis. to be the equals of Paris. Minnet, tugentliche man, Good men, love Ah! Ah! minnecliche frouwen! women worthy of love! minne tuot iu hoch gemuot Love lifts your spirit Uf dem anger On the Green unde lat iuch in hohen eren schouwen. and gives you honour. Seht mich an Look at me, 6 Tanz (Dance) Dance jungen man! young men! lat mich iu gevallen! Let me pleasure you! 7 Floret silva nobilis The noble wood is in flower (chorus) Wol dir, Werlt, daz du bist also freudenriche! Hail, world, Floret silva nobilis The noble wood is in flower ich will dir sin undertan so rich in joys! floribus et foliis. with flowers and leaves. durch din liebe immer sicherliche. I will always serve you faithfully Seht mich an, for the pleasures you give. (semi-chorus) jungen man! Look at me, lat mich iu gevallen! young men! Ubi est antiquus Where is my old Let me pleasure you! meus amicus? lover? Ah! Ah! 9 Reie Round dance Hinc equitavit, He has ridden away Swaz hie gat umbe Those who here go round eia, quis me amabit? Oh, who will love me? (chorus) Ah! Ah! Swaz hie gat umbe, Those who here go round (chorus) daz sint alles megede, are all maidens, die wellent ân man they want to be without a man Floret silva undique, The wood is everywhere in flower, allen disen sumer gan! all summer long. nah mime gesellen ist mir wê. My lover has gone. Ah! Sla! Ah! Sla!

(semi-chorus) Chume, chum, geselle min Come, come, my love (semi-chorus) Gruonet der walt allenthalben, The wood is everywhere green, wâ ist min geselle alse lange? Ah! why is my lover so long away? Ah! Chume, chum, geselle min, Come, come, my love, Der ist geriten hinnen, He has ridden away, ih enbite harte din, I desire you, o wî, wer sol mich minnen? Ah! alas, who will love me? Ah! ih enbite harte din, I desire you. chume, chum, geselle min. come, come, my love.

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Nunc in scutella iaceo, Now on a dish I lie, et volitare nequeo and cannot fly, dentes frendentes video: I see gnashing teeth:

(Male Chorus)

Miser, miser! Forlorn, forlorn! modo niger Now black et ustus fortiter! and roasting fiercely!

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) Veni, veni, venias Come, come, O come (double 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 Fair is your face, oculorum acies, the brightness of your eyes, capillorum series, the braiding of your hair, o quam clara species! O how lovely a sight!

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

¡ In trutina In the balance

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Carl Orff (1895–1982): Carmina Burana Fortuna Imperatrix Mundi Fortune, Empress of the World

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Carl ORFF (1895–1982) ORFF Carmina Burana Claire Rutter, Soprano • Tom Randle, Tenor • Markus Eiche, Baritone Carmina Burana Highcliffe Junior Choir • Bournemouth Symphony Youth Chorus Rutter • Randle • Eiche Bournemouth Symphony Orchestra and Chorus Marin Alsop Bournemouth Symphony Orchestra and Chorus Fortuna Imperatrix Mundi # Ego sum abbas 1:32 (Fortune, Empress of the World) 5:27 $ In taberna quando sumus 3:05 Marin Alsop 1 O Fortuna 2:40 2 Fortune plango vulnera 2:47 III Cour d’amours (The Court of Love) 16:46 I Primo vere (In Spring) 8:57 % Amor volat undique 3:17 3 Veris leta facies 3:53 ^ Dies, nox et omnia 2:24 4 Omnia sol temperat 2:15 & Stetit puella 1:43 5 Ecce gratum 2:49 * Circa mea pectora 1:58 ( Si puer cum puellula 0:57 Uf dem anger (On the Green) 14:13 ) Veni, veni, venias 1:00 ¡ In trutina 2:16 6 Tanz 1:55 ™ Tempus est iocundum 2:26 7 Floret silva 3:29 £ Dulcissime 0:45 8 Chramer, gip die varwe mir 3:16 9 Reie 4:38 Blanziflor et Helena Swaz hie gat umbe (Blanchefleur and Helen) Chume, chum geselle min ¢ Ave formosissima 1:50 Swaz hie gat umbe 0 Were diu werlt alle min 0:55 Fortuna Imperatrix Mundi (Fortune, Empress of the World) II In Taberna (In the Tavern) 10:57 ∞ O Fortuna 2:39 ! Estuans interius 2:30 @ Cignus ustus cantat: Olim lacus colueram 3:49 8.570033 28 570033 Inlay USA 17/11/06 5:47 pm Page 1 NAXOS NAXOS With its mixture of funny, bawdy and hedonistic texts taken from anonymous poets of the Middle Ages, twentieth century German composer Carl Orff created in Carmina Burana a choral work of powerful pagan sensuality and direct physical excitement. The pulsating rhythms, colourful orchestration and dynamic choruses, contrasted with moments of sensuous innocence, have taken Carmina Burana into the world of ‘pop classics’. The work has also provided the backdrop for countless international television adverts, and for the films Excalibur, Natural Born Killers and Badlands. 8.570033

ORFF: DDD ORFF: Carl ORFF Playing Time 60:49

Carmina Burana (1895-1982) Carmina Burana 7

Carmina Burana 47313

1-2 Fortune, Empress of the World 5:27

3-5 I In Spring 8:57 00337 6-0 On the Green 14:13 !-$ II In the Tavern 10:57 %-£ III The Court of Love 16:46 2 Made in Canada available at www.naxos.com/libretti/570033.htm Sung texts with English translations included, also Booklet Notes in English • Notice en français ¢ Blanchefleur and Helen 1:50 &

∞ Fortune, Empress of the World 2:39 2007 Naxos Rights International Ltd. Claire Rutter, Soprano • Tom Randle, Tenor • Markus Eiche, Baritone Highcliffe Junior Choir (Director: Mary Denniss) Bournemouth Symphony Youth Chorus (Director: Andrew Knights) Bournemouth Symphony Orchestra and Chorus (Director: Greg Beardsell) Marin Alsop

See page 28 of the booklet for a detailed tracklisting 8.570033 Recorded in The Concert Hall, Lighthouse, Poole, UK on 13th and 14th May, 2006 8.570033 Producer: Tim Handley • Engineer: Phil Rowlands • Booklet Notes: Keith Anderson and Tilo Kittel Cover Painting: An Allegory of the Five Senses by Jan Brueghel (1568-1625) and Hendrik van Balen (1575-1632) (Private Collection/Johnny Van Haeften Ltd., London/The Bridgeman Art Library, London)