23 Season 2012-2013

Thursday, February 14, at 8:00 The Philadelphia Friday, February 15, at 2:00 Saturday, February 16, at 8:00 Rafael Frühbeck de Burgos Conductor David Bilger Trumpet Erin Morley Soprano Nicholas Phan Tenor Hugh Russell Baritone The Philadelphia Singers Chorale David Hayes Music Director The American Boychoir Fernando Malvar-Ruiz Music Director

Haydn No. 1 in D major I. Presto II. Andante III. Finale: Presto

Hummel Trumpet Concerto in E major I. Allegro con spirito II. Andante III.

Intermission

Program continued

Book 25.indd 1 2/5/13 4:00 PM 24

Orff Fortuna Imperatrix Mundi: 1. (chorus) 2. Fortune plango vulnera (chorus) I. Primo vere: 3. Veris leta facies (small chorus) 4. Omnia sol temperat (baritone) 5. (chorus) Uf dem Anger: 6. Tanz (orchestra) 7. Floret silva nobilis (chorus) 8. Chramer, gip die varwe mir (soprano and small chorus) 9. Reie: (a) Swaz hie gat umbe (chorus) (b) Chume, chum geselle min (small chorus) (c) Swaz hie gat umbe (chorus) 10. Were diu werlt alle min (chorus) II. In Taberna: 11. Estuans interius (baritone) 12. Olim lacus colueram (tenor and male chorus) 13. Ego sum abbas Cucaniensis (baritone and male chorus) 14. (male chorus) III. Cour d’amours: 15. Amor volat undique (soprano and boys chorus) 16. Dies, nox et omnia (baritone) 17. Stetit puella (soprano) 18. Circa mea pectora (baritone and chorus) 19. Si puer com puellula (male chorus) 20. Veni, veni, venias (double chorus) 21. In truitina mentis dubia (soprano) 22. Tempus est iocundum (soprano, baritone, chorus, and boys chorus) 23. Dulcissime (soprano) Blanziflor et Helena: 24. Ave formosissima (chorus) Fortuna Imperatrix Mundi: 25. O Fortuna (chorus)

This program runs approximately 2 hours.

Book 25.indd 2 2/5/13 4:00 PM 25

3 Story Title The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, Leopold Stokowski, to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages. Today Muti, Wolfgang Sawallisch, Landmark—as it has since the Orchestra executes a and Christoph Eschenbach, 1957. myriad of education and and Charles Dutoit, who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

Book 25.indd 3 2/5/13 4:00 PM

26 Conductor

Steve J. Sherman The 79-year-old Rafael Frühbeck de Burgos made his American debut with The Philadelphia Orchestra on Valentine’s Day in 1969. Since then he has led the Philadelphians in more than 150 performances. A regular guest with all of North America’s top orchestras, he conducts the New York and Los Angeles philharmonics and the Boston, Cincinnati, Pittsburgh, Detroit, and Toronto in the 2012-13 season. He appears annually at the Tanglewood Music Festival and regularly with the Chicago and National symphonies. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic. This is his first season as chief conductor of the Danish National Orchestra. Born in Burgos, Spain, Mr. Frühbeck studied , piano, music theory, and composition at the conservatories in Bilbao and Madrid; he studied conducting at Munich’s Hochschule für Musik where he graduated summa cum laude and was awarded the Richard Strauss Prize. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, including the Gold Medal of the City of Vienna; Germany’s Order of Merit; the Gold Medal from the Gustav Mahler International Society; and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Mr. Frühbeck was appointed emeritus conductor of the Spanish National Orchestra. He has an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando in Madrid. Mr. Frühbeck has made tours with ensembles including London’s Philharmonia, the London Symphony, the National Orchestra of Madrid, and the Swedish Radio Orchestra. He has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Mr. Frühbeck has recorded extensively for EMI, Decca, Deutsche Grammophon, Spanish Columbia, and Orfeo. Several of his recordings are considered to be classics, including his interpretations of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Spanish Manuel de Falla.

Book 25.indd 4 2/5/13 4:00 PM 27 Soloists

Joanne Bening David Bilger, principal trumpet of The Philadelphia Orchestra since 1995, holds a master’s degree from the Juilliard School and a bachelor’s degree from the University of Illinois. Prior to joining the Orchestra he was principal trumpet of the Dallas Symphony. As a soloist he has appeared with The Philadelphia Orchestra; the Dallas, Houston, and Oakland symphonies; the Chamber Orchestra of Philadelphia; and the Indianapolis Chamber Orchestra, among others. He has performed recitals in major cities across the U.S. and his chamber music appearances include the Chamber Music Society of Lincoln Center, with which he recorded Bach’s Second Brandenburg Concerto, Chamber Music Northwest, Saint Luke’s Chamber Ensemble, and guest appearances with the Canadian Brass and the Empire Brass. He recently released a recording of music for trumpet and synthesizers with composer Meg Bowles. Mr. Bilger is on the faculties of the University of Georgia’s Hugh Hodgson School of Music, the Curtis Institute, and Temple University. He has performed master classes at dozens of institutions and has also taught at the Pacific Music Festival, the National Orchestral Institute, and the Aspen Music Festival and School.

Dario Acosta A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, soprano Erin Morley has sung several roles at the Met, including Echo in Strauss’s Ariadne auf Naxos, the Daughter in Shostakovich’s The Nose, Woglinde in Wagner’s Das Rheingold and Götterdämmerung, and the Forest Bird in Wagner’s Siegfried. She returns to the Met this spring as Sister Constance in Poulenc’s Dialogues of the Carmelites. Recently she sang her first Gilda in Verdi’s Rigoletto. Ms. Morley has appeared with the New York Philharmonic; the Cleveland Orchestra; the Chicago, Houston, Salt Lake, and Utah symphonies; and the Orchestra of St. Luke’s. On the opera stage her roles include Marguerite de Valois in Meyerbeer’s Les Huguenots, Roxana in Szymanowski’s King Roger, the Queen of the Night in Mozart’s The Magic , Sophie in Strauss’s Der Rosenkavalier, Giannetta in Donizetti’s The Elixir of Love, Laoula in Chabrier’s L’Étoile, and Frasquita in Bizet’s Carmen. Ms. Morley earned her master’s degree and completed her artist diploma at Juilliard and her bachelor’s degree from the Eastman School of Music. This is her Philadelphia Orchestra debut.

Book 25.indd 5 2/5/13 4:00 PM 28 Soloists

Balance Photography American tenor Nicholas Phan made his Philadelphia Orchestra debut in 2011. This season he appears with the New York Philharmonic; the Cleveland Orchestra; the San Francisco, Cincinnati, and Lucerne symphonies; and the Los Angeles Chamber Orchestra. He also returns to Portland Opera as Fenton in Verdi’s Falstaff and makes his Bolshoi debut in a concert performance of Handel’s Hercules. Mr. Phan’s recent performances include his Seattle Opera debut as Count Almaviva in Rossini’s The Barber of Seville, debuts at Glyndebourne and the Maggio Musicale in Florence, and appearances with New York City Opera, Los Angeles Opera, Houston Grand Opera, Glimmerglass Opera, the Deutsche Oper am Rhein, and Frankfurt Opera. He is also artistic director of the Collaborative Arts Institute of Chicago, an organization devoted to promoting the vocal chamber music repertoire. Mr. Phan’s discography includes Winter Words (AVIE) and a Grammy-nominated recording of Stravinksy’s Pulcinella with the Chicago Symphony (CSO Resound). His latest album, Still Falls the Rain (AVIE), was released in October and features Philadelphia Orchestra Principal Horn Jennifer Montone.

Larry Lapidus Canadian baritone Hugh Russell made his Philadelphia Orchestra debut in 2008; he has also performed with the Cleveland Orchestra; the Los Angeles Philharmonic; and the San Francisco, Houston, Detroit, Pittsburgh, Seattle, Toronto, Vancouver, and National symphonies, among others. This season he makes his debut with the Danish Radio Symphony and appears with the Madison Symphony and the Opera Theatre of Saint Louis. Mr. Russell has performed at the New York City Opera and at Los Angeles Opera. He was an Adler Fellow and a member of the Merola Opera Program at San Francisco Opera, where he sang in Strauss’s Ariadne auf Naxos and Messiaen’s Saint Francis of Assisi. He was also a member of the Pittsburgh Opera Center, where he appeared as Malatesta in Donizetti’s Don Pasquale, Pelleas in Debussy’s Pelleas and Melisande, and Guglielmo in Mozart’s Così fan tutte. Other engagements have included the Pilot in Rachel Portman’s The Little Prince with Boston Lyric Opera, Taddeo in Rossini’s The Italian Girl in Algiers with Vancouver Opera, and Eisenstein in Johann Strauss’s Die Fledermaus with Arizona Opera. He is a graduate of the Oberlin Conservatory of Music.

Book 25.indd 6 2/5/13 4:00 PM 29 Choruses

Celebrating its 40th anniversary this season, the Philadelphia Singers is a professional chorus with a mission to preserve and strengthen America’s rich choral heritage through performances, commissions, and music education. The chorus performs regularly with such organizations as The Philadelphia Orchestra, the New York Philharmonic, the Curtis Institute of Music, the Philadelphia Chamber Music Society, Kimmel Center Presents, and the Mannes Orchestra. In 1991 the Philadelphia Singers founded the Philadelphia Singers Chorale, a symphonic chorus composed of professional singers and talented volunteers, and the ensemble made its Philadelphia Orchestra debut in 1992. The Chorale was resident chorus of the Orchestra from 2000 to 2011. David Hayes was appointed music director of the Philadelphia Singers in 1992. Music director of the Mannes Orchestra of the Mannes College of Music in New York, he is also staff conductor of the Curtis Symphony. Mr. Hayes studied conducting with Charles Bruck at the Pierre Monteux School and with Otto-Werner Mueller at the Curtis Institute of Music. The American Boychoir was founded in Columbus, Ohio, in 1937 and has been located in Princeton since 1950. Boys in grades four through eight from around the world pursue a rigorous musical and academic curriculum at the only non-sectarian boys’ choir in the nation while also maintaining an active touring schedule. The Boychoir made its Philadelphia Orchestra debut in 1952 and has performed with such ensembles as the Boston Symphony, the New York Philharmonic, the Royal Concertgebouw Orchestra, and the Staatskapelle Berlin. They have also appeared at the Academy Awards, at Carnegie Hall with Paul McCartney, and with soprano Jessye Norman, trumpeter Wynton Marsalis, and Beyoncé. The American Boychoir is under the leadership of Litton-Lodal Music Director Fernando Malvar-Ruiz. A native of Spain, Mr. Malvar-Ruiz earned his undergraduate degree from the Madrid Royal Conservatory, holds a master’s degree in Choral Conducting from Ohio State University, and has completed all coursework toward a doctoral degree in musical arts from the University of Illinois. The American Boychoir records extensively on its own label, Albemarle Records.

Book 25.indd 7 2/5/13 4:00 PM 30 Framing the Program

Many agonize long and hard before writing Parallel Events a first symphony, in some cases delaying such a grand 1759 Music statement for decades. Not so Franz , who Haydn Abel composed the first of his more than 100 symphonies Symphony Symphony when he was in his mid-20s; he did so when called upon No. 1 in G for such a work by his wealthy employer. Over the next Literature 40 years, Haydn was the one who brought the genre to Voltaire prominent artistic status. It is for this reason that he is Candide justly (if not historically accurately) known as the “Father Art of the Symphony” and today we have the rare opportunity Gainsborough Self-Portrait to hear his exciting first symphonic child. History While is hardly a household Mt. Vesuvius name today, this student of Mozart and friend of erupts Beethoven was very highly regarded in his own time. We hear on this concert a composition that has helped 1803 Music bring him back into the modern orchestral repertoire, a Hummel Beethoven Trumpet Symphony brilliant Trumpet Concerto that reveals his stylistic position Concerto No. 3 between the Classical and Romantic eras. Literature ’s Carmina burana is among a handful of imposing Schiller 20th-century compositions that has established a firm place Der Braut in the concert repertory while also being enthusiastically von Messina embraced by popular culture. This grand choral Art extravaganza, based on medieval poems, encompasses West Christ Healing a wide range of themes, from the bawdy to the elevated, the Sick beginning with the famous invocation to Fortune. History Louisiana Purchase

1935 Music Orff Shostakovich Carmina Symphony burana No. 4 Literature Auden On this Island Art Epstein Ecce Homo History Spanish Civil War begins

Book 25.indd 8 2/5/13 4:00 PM 30A The Music Symphony No. 1

First symphonies were not always a big deal for composers, although they became ever more so as the stature of the genre evolved in the 19th century. Brahms took more than 20 years to write his. For him, as for Beethoven and Berlioz before or Mahler and Elgar after, a first symphony was a significant artistic statement. For some composers, however, it was more in the nature of an educational exercise: Mozart wrote his first symphony at age eight and Schubert his at 15. Which brings us to Franz Joseph Haydn, the one often credited with having Franz Joseph Haydn started it all and who has long been hailed as the “Father Born in Rohrau, Lower of the Symphony.” While that reputation may be artistically Austria, March 31, 1732 well deserved, it is not historically accurate. Yet even if Died in Vienna, May 31, Haydn did not “invent” the symphony (as with more justice 1809 one could say he did the ) he is nonetheless its lauded “Father,” the composer who elevated the genre to a new artistic status and who established the standards and practices that Mozart, Beethoven, and countless subsequent composers would both follow and break. The Path to the Symphony Haydn came to the symphony in the late , when he was in his mid-20s. This was actually rather late as he had already written a great deal of other kinds of music. Over the course of the next 40 years he nonetheless composed more than a hundred symphonies. Haydn’s output at any given point in his career tended to reflect the demands of his job at the time. He spent most of his professional life in the service of an exceeding rich family—the Esterházys—that had estates spread over the Austro-Hungarian Empire. Today we hear what appears to be Haydn’s earliest symphony; at least Haydn himself thought so and thus informed his first biographers. There is evidence that one or more may have preceded it that Haydn had forgotten about when he was later asked about his earliest efforts. Haydn apparently composed this Symphony in D major in 1759, by which point he was already an experienced composer. His break came when he was hired by one Count Morzin, for whom he worked some four years as Kapellmeister for the family’s palaces in Bohemia and Vienna. The Count wanted symphonies written for his private orchestra and so for the first time Haydn had reason to write them.

Book 25.indd 9 2/5/13 4:00 PM 30B

Haydn composed his First At the Request of a Count The post of Kapellmeister— Symphony in 1759. basically, music director—put Haydn in charge of a small Rafael Frühbeck de Burgos orchestra, and it was for this ensemble that he composed was on the podium for the his earliest symphonies. There are about 15 such works first Philadelphia Orchestra dating from the Morzin period, although they do not performances of the work, follow the standard numbering of Haydn’s symphonies in November 1982. Since as catalogued in 1907. The genre of the symphony had then the Symphony has been been developed earlier in the 18th century by figures heard only one other time on such as Giovanni Battista Sammartini and Johann Stamitz. the Orchestra’s programs, Some of the most prominent composers were connected in April 1995, with Mark with the city of Mannheim, which boasted the leading Wigglesworth. orchestra of the day. The piece is scored for two The early symphonic form was closely allied to opera , one bassoon, two overtures (in Italian a sinfonia), which were usually in three horns, , and strings. movements. Most of Haydn’s initial symphonies, including Performance time is the one we hear today, employ such an overture layout: approximately 11 minutes. a fast sonata-form movement, a slow movement scored for strings alone, and a fast finale in 3/8 meter. The scoring of these works was quite modest, as the private orchestras of Count Morzin and Esterházy generally ranged from just about a dozen to two dozen musicians. Haydn scored his First Symphony for a small contingent of strings together with two oboes and two horns. Harpsichord and a bassoon provide harmonic support together with the lower strings. A Closer Look One of the effects for which the Mannheim composers were best known was the so-called Mannheim rocket (or crescendo), an attention getter that prepared the audience for the piece to follow. For the first movement (Presto) of his First Symphony Haydn may well have found a specific model in an opera overture in the same key by Florian Gassmann (teacher of , now most remembered for supposedly murdering Mozart). A rising theme in the starts softly and quickly builds in pitch and sound over a repeated tonic note D. The writing for the upper strings becomes particularly virtuosic, with many rapid scales, and has the sort of intensity one associates with earlier Baroque concertos. The string second movement (Andante) is more polite and calm, with playful shifts in dynamics and unexpected syncopations. The oboes and horns return for the very brief finale (Presto) that features a rising D-major triadic theme as its buoyant basis. —Christopher H. Gibbs

Book 25.indd 10 2/5/13 4:00 PM 30C The Music Trumpet Concerto in E major

In his magisterial volume The Classical Style, Charles Rosen notes, “It is only in the works of Haydn, Mozart, and Beethoven that all the contemporary elements of musical style—rhythmic, harmonic, and melodic—work coherently together, or that the ideals of the period are realized on a level of any complexity.” Rosen characterizes the music of Johann Nepomuk Hummel as “post-classical” in its reliance on “virtuoso passagework.” Rosen, who calls Hummel a “fine musician,” aptly summed up his historical position by observing that he “belongs, in his musical Johann Nepomuk Hummel outlook, to the age of Rossini, not to the age of Haydn Born in Pressburg (now and Mozart; the development of Beethoven who carried Bratislava), November 14, on the classical tradition against the current of his time 1778 must have been incomprehensible to him.” Died in Weimar, October 17, 1837 A Bridge between Styles As Rosen implies, Hummel represents a historical bridge between the Classical style of Mozart and the early Romanticism of Weber and Rossini. Indeed, Hummel studied with Mozart, virtually living in his teacher’s apartment in Vienna for two years starting at the age of eight. Remembering his own experience as a child prodigy, Mozart clearly felt a special kinship with little Johann Neopmuk, whose precocious musical gifts were evinced at a very early age. Mozart sponsored his pupil’s debut during one of his own concerts in 1787; after this immensely successful performance, Hummel progressed from strength to strength. Accompanied by his father, the young Hummel traveled all over Europe on extended concert tours, studying with the revered pianist (1752-1832) in London and having a string quartet applauded in Oxford. Upon his return to Vienna in 1793, he studied diligently with Johann Georg Albrechtsburger (1736-1809), who was teaching Beethoven at the time as well. By 1804 Hummel had succeeded Haydn as Kapellmeister to the princely Esterházy family. Until the onset of the ill health that blighted his final years in Weimar, he was celebrated both as a brilliant pianist and as a composer whose impeccable craftsmanship, melodic invention, and formal balance made him a rival to Beethoven in the opinion of many of his contemporaries. By the time of his death, however, the fashionable

Book 25.indd 11 2/5/13 4:00 PM 30D

Hummel composed his Trumpet brilliance of younger pianists and composers eclipsed his Concerto in 1803. once shining fame, and his work slid into obscurity. The first, and only other, Due to an accident of history, Hummel’s reputation was Philadelphia Orchestra rehabilitated in the mid-20th century in large part due to performance of the Concerto the rediscovery of his coruscating Concerto for Trumpet was in June 1990 at the Mann in E major. (Today we’ll hear the revised 2007 second Center, with trumpeter Håkan edition in E-flat major, edited by Clark McAlister, who Hardenberger and Charles Dutoit. undertook the transposition in response to the continuing demand for a version in that key.) In 1958 a student at The score calls for flute, two Yale University, Merrill Debsky, who was searching for a oboes, two , two suitable piece to play on his trumpet recital, ordered a bassoons, two horns, timpani, copy of Hummel’s Concerto from the British Library. Alas, and strings, in addition to the the music failed to arrive in time. When the Concerto was solo trumpet. finally delivered, Debsky sent it on to the trumpet virtuoso The work lasts approximately Armando Ghitalla, who recognized its quality at once. 20 minutes in performance. Ghitalla made the first recording of the score in 1964 with Pierre Monteux conducting the Boston Chamber Ensemble. Ghitalla’s recording established Hummel’s score alongside Haydn’s Concerto in E-flat (1796), as one of the cornerstones of the trumpet repertory. Hummel completed his Concerto on December 8, 1803; Anton Weidinger premiered the new work just a few weeks later at a gala concert held in Vienna on New Year’s Day, 1804. A Closer Look As Rosen cannily observed, Hummel’s style gradually moved from the poise of Mozart towards the exuberance of Rossini. Throughout this Concerto, alert listeners will hear echoes of stylistic traits found in the music of both composers. The first movement Presto begins with a theme reminiscent of the vaunting opening of Mozart’s Symphony No. 35 (“Haffner”), while the dotted rhythms of the second theme have an insouciant swagger redolent of an aria from a comic opera by Rossini. The Andante has often been justly described as “operatic,” an appropriate description for a soulful movement written by a composer whose catalogue contains nine operas. But the gently throbbing triplets that accompany the trumpet as it sings a gorgeous melody may remind listeners of another “operatic” andante, the celebrated second movement of Mozart’s Piano Concerto No. 21, K. 467. The finale of Hummel’s lovable Concerto is a Rondo of infectious jollity, a romp that concludes with a burst of high spirits worthy of Rossini. —Byron Adams

Book 25.indd 12 2/5/13 4:00 PM 31 The Music Carmina burana

Orff was 41 years old when he completed Carmina burana, the piece he designated as his first “real” composition—disregarding, in the process, all of his previous works. Up to that time he had become known not only as a composer and conductor, but also as the founder of a new concept in musical pedagogy. The “Orff Method,” which is still prevalent today (especially in Bavaria), employs rhythm as an innovative central focus, a movement-oriented means for teaching of melodic and harmonic principles. This rhythmic emphasis is prevalent Carl Orff throughout Orff’s compositions, and is a salient feature of Born in Munich, July 10, 1895 Carmina burana, his most spectacularly popular work, and Died there, March 29, 1982 one of the most durable choral works of the century. Texts on Religion, Love, and Mankind The songs of the Carmina collection, which are a part of the oral tradition of Alpine Bavaria, combine in a fresh manner the subjects of religion, love, and mankind living in society. Texts are derived from various traditions; subsequent research has revealed that a number of the melodies notated in the original began as drinking and love songs, though Orff did not know this at the time. The composer initially conceived Carmina as a sort of stage work, to be performed with sets, costumes, and movement. Early performances often included lavish stagings; today the piece is most often performed in the concert hall, with no staging at all. Its first performance on Frankfurt’s Städtische Bühne, in June 1937, was a huge success, and it has become one of the 20th century’s most celebrated compositions. A Closer Look The famous “Fortuna” chorus, familiar to many through its use in television and films, is followed by the vivid “Veris leta facies,” a sort of sound-impression of the onset of spring. After a veritable paean to the season, the dance “sets” start in the next large-scale section (beginning at No. 6), Uf dem Anger. Orff uses words and word-fragments to create the impetus for driving rhythmic pulses; chorus and soloists take on an almost instrumental character. This spring peasant festival is followed by the drunken strains of “In Taberna,” which is at once ironic and genuinely “pagan” in its inspiration.

Book 25.indd 13 2/5/13 4:00 PM 32

Carmina burana was After drink comes love. Beginning with No. 15 (“Amor composed from 1935 to 1936. volat undique”), Orff’s music becomes subtly sensuous, Thor Johnson conducted the even innocent, while at the same time revealing a mature first Philadelphia Orchestra wisdom about such matters. The “Blanziflor et Helena” performances of Carmina chorus (No. 24) is a final Dionysian tribute to sensuality; burana, in Ann Arbor, Michigan, the work closes with a reiteration of the opening chorus, in May 1955; the piece was a declaration of destiny’s final arbitrary command of love, then presented on a regular life, and death. subscription program in April 1960, under Eugene The composer has written the following comments about Ormandy’s baton. Most recently the piece: on subscription, Christoph “Fortuna” smiled upon me when she brought into my Campestrini conducted it in hands a catalog from a Würzburg rare book shop, March 2008. where I found a title that drew me in with an almost The Orchestra recorded the magical power: Carmina Burana / Latin and German work for CBS in 1960 with Songs and Poems / from a 13th-Century Manuscript Ormandy, soprano Janice from Benediktbeuern / edited by J.A. Schmeller. This Harsanyi, tenor Rudolf Petrak, manuscript had been kept in the Benediktbeuern baritone Harve Presnell, and Monastery until it was brought to the Royal Court the Rutgers University Choir. Library in Munich, in the wake of the secularization The score calls for three of the Bavarian monasteries. It was given its name (II and III doubling Carmina burana—songs from Benediktbeuern—by piccolo), three oboes (III its editor, the estimable archivist Johann Andreas doubling English horn), two Schmeller, who had first published it in 1847. bassoons, contrabassoon, four horns, three trumpets, three I received the volume on Maundy Thursday of 1934, trombones, tuba, timpani, a day that is still memorable to me. Upon turning percussion (antique cymbals, to the first page I found the well-known image of bass drum, castanets, chimes, “Fortune with Her Wheel,” and under it the lines “O cymbals, glockenspiel, ratchet, Fortuna velut luna statu variabilis ...” (O Fortune, like sleigh bells, snare drum, the moon, everchanging). suspended cymbal, tam-tam, tambourine, triangle), celesta, Image and Word overtook me. Although at the two pianos, strings, soprano, beginning I could familiarize myself only in broad tenor, bass, mixed chorus, and strokes with the contents of the collection, a brand- boys chorus. new work appeared in my imagination—a stage piece with chorus and dancers—simply as a result Running time is approximately one hour. of the impression of Image and Text. That same day I sketched out a partial draft of the opening “O Fortuna” chorus. After a sleepless night in which I nearly lost myself in the poems, another chorus was born, “Fortune plango vulnera,” and by Easter Morning a third (“Ecce gratum”) had been set to paper. It wasn’t easy to find one’s way around this codex, with its 250 songs and poems. Most of the poems were in late Latin, but a large number of them were in Middle High German, and some were even in a mixture of Latin texts with Old French refrains. ... I was fully aware that some of the poems in the

Book 25.indd 14 2/5/13 4:00 PM 33

Program notes © 2013. All collections contained neumes ... but I had neither rights reserved. Program notes the desire nor the ability to undertake the research may not be reprinted without necessary to decipher this ancient musical notation. written permission from So I interpreted them rather casually. The things that The Philadelphia Orchestra moved me most of all were the sweeping rhythmic Association and/or Byron drive, the picturesqueness of the poetry, and (not Adams. least of all) the unusually concise Latin text. —Paul J. Horsley

FORTUNA IMPERATRIX MUNDI FORTUNE EMPRESS OF THE WORLD

1. Chorus 1. Chorus O Fortuna, velut Luna O Fortune! Like the moon statu variabilis, everchanging semper crescis aut decrescis; rising first then declining; vita detestabilis hateful life nunc obdurat et tunc curat treats us badly then with kindness ludo mentis aciem, making sport with our desires, egestatem, potestatem causing power and poverty alike dissolvit ut glaciem. to melt like ice.

Sors immanis et inanis, Dread destiny and empty fate, rota tu volubilis, an ever-turning wheel, status malus, vana salus who make adversity and fickle health semper dissolubilis, alike turn to nothing, obumbrata et velata in the dark and secretly michi quoque niteris; you work against me; nunc per ludum dorsum nudum how through your trickery my naked back fero tui sceleris. is turned to you unarmed.

Sors salutis et virtutis Good fortune and strength michi nunc contraria now are turned from me. est affectus et defectus Affection and defeat semper in angaria. are always on duty. Hac in hora sine mora Come now pluck the strings corde pulsum tangite; without delay; quod per sortem sternit fortem, and since by fate the strong are overthrown mecum omnes plangite! weep ye all with me.

2. Chorus 2. Chorus Fortune plango vulnera I lament the wounds that Fortune deals stillantibus ocellis, with tear-filled eyes quod sua michi munera for returning to the attack subtrahit rebellis. she takes her gifts from me. Verum est, quod legitur It is true fronte capillata, as they say, sed plerumque sequitur the well-thatched pate occasio calvata. may soonest lose its hair.

In Fortune solio Once on Fortune’s throne sederam elatus, I sat exalted prosperitatis vario crowned with a wreath flore coronatus; of Prosperity’s flowers. quicquid enim florui But from my happy felix et beatus, flower-decked paradise nunc a summo corrui I was struck down gloria privatus. and stripped of all my glory. Please turn the page quietly.

Book 25.indd 15 2/5/13 4:00 PM 34

Fortune rota volvitur: The wheel of Fortune turns, descendo minoratus; dishonored I fall from grace alter in altum tollitur and another is raised on high. nimis exaltatus Raised to over dizzy heights of power rex sedet in vertice the king sits in majesty caveat ruinam! but let him beware his downfall! Nam sub axe legimus For ’neath the axle of Fortune’s wheel Hecubam reginam. behold Queen Hecuba.

I. PRIMO VERE I. SPRINGTIME

3. Small Chorus 3. Small Chorus Veris leta facies The joyous face of spring mundo propinatur, is presented to the world. hiemalis acies Winter’s army victa iam fugatur. is conquered and put to flight. In vestitu vario In colorful dress Flora principatur, Flora is arrayed nemorum dulcisono, and the woods are sweet que cantu celebratur. with birdsong in her praise.

Flore fusus gremio Reclining in Flora’s lap Phebus novo more Phoebus again risum dat, hac vario laughs merrily iam stipate flore. covered with many colored flowers. Zephyrus nectareo Zephyr breathes around spirans it odore; the scented fragrance; certatim pro bravio eagerly striving for the prize. curramus in amore. Let us compete in love.

Cytharizat cantico Trilling her song dulcis Philomena, sweet Philomel is heard flore rident vario and smiling with flowers prata iam serena, the peaceful meadows lie, salit cetus avium a flock of wild birds silve per amena, rises from the woods; chorus promit virginum the chorus of maidens iam gaudia millena. brings a thousand joys.

4. Baritone 4. Baritone Omnia Sol temperat All things are tempered by the Sun purus et subtilis, so pure and fine. novo mundo reserat In a new world are revealed faciem Aprilis, the beauties of April, ad Amorem properat to thoughts of love animus herilis, the mind of man is turned et iocundis imperat and in pleasure’s haunts deus puerilis. the youthful God holds sway.

Rerum tanta novitas Nature’s great renewal in solemni vere in solemn spring et veris auctoritas and spring’s example iubet nos gaudere, bid us rejoice; vias prebet solitas, they charge us keep to well-worn paths, et in tuo vere and in your springtime fides est et probitas there is virtue and honesty tuum retinere. in being constant to your lover.

Book 25.indd 16 2/5/13 4:00 PM 35

Ama me fideliter! Love me truly! Fidem meam nota: Remember my constancy. de corde totaliter With all my heart et ex mente tota and all my mind sum presentialiter I am with you absens in remota. even when far away. Quisquis amat taliter, Whoever knows such love volvitur in rota. knows the torture of the wheel.

5. Chorus 5. Chorus Ecce gratum et optatum Behold the welcome long-awaited ver reducit gaudia, spring, which brings back pleasure purpuratum floret pratum. and with crimson flowers adorns the fields. Sol serenat omnia. The Sun brings peace to all around. Iam iam cedant tristia! Away with sadness! Estas redit, nunc recedit Summer returns, and now departs Hyemis sevitia. cruel winter.

Iam liquescit et decrescit Melt away and disappear grando, nix etcetera; hail, ice, and snow; bruma fugit, et iam sugit the mists flee and spring is fed ver estatis ubera; at summer’s breast; illi mens est misera, wretched is the man qui nec vivit, nec lascivit who neither lives nor lusts sub estatis dextera. under summer’s spell.

Gloriantur et letantur They taste delight and honeyed sweetness in melle dulcedinis, who strive for qui conantur, ut utantur and gain Cupid’s reward. premio Cupidinis; Let us submit simus jussu Cypridis to Venus’s rule gloriantes et letantes and joyful and proud pares esse Paridis. be equal to Paris.

UF DEM ANGER ON THE GREEN

6. Tanz: Orchestra 6. Dance: Orchestra

7. Chorus 7. Chorus Floret silva nobilis The noble forest floribus et foliis. is decked with flowers and leaves.

Small Chorus Small Chorus Ubi est antiquus Where is my old meus amicus? long-lost lover? Hinc equitavit, He rode away on his horse. eia quis me amabit? Alas, who will love me now?

Chorus Chorus Floret silva undique, The forest all around is in flower. nah mime gesellen ist mir wê. I long for my lover.

Small Chorus Small Chorus Gruonet der walt allenthalben, The forest all around is in flower wâ ist min geselle alse lange? whence is my lover gone? Der ist geriten hinnen, He rode away on his horse. o wî, wer sol mich minnen? Alas, who will love me now?

Please turn the page quietly.

Book 25.indd 17 2/5/13 4:00 PM 36

8. Soprano and Small Chorus 8. Soprano and Small Chorus Chramer, gip die varwe mir, Salesman! Give me colored paint, die min wengel roete, to paint my cheeks so crimson red, da mit ich die jungen man that I may make these bold young men, an ir dank der minnenliebe noete. whether they will or no, to love me.

Seht mich an, jungen man! Look at me, young men all! Lat mich iu gevallen! Am I not well pleasing?

Minnet, tugentliche man, Love, all you right-thinking men, minnecliche frouwen! women worthy to be loved! Minne tuot iu hoch gemout Love shall raise your spirits high unde lat iuch in hohen eren schouwen. and put a spring into your step.

Seht mich an, jungen man! Look at me, young men all! Lat mich iu gevallen! Am I not well pleasing?

Wol dir, Werlt, daz du bist Hail to thee, o world that are also freudenriche! in joy so rich and plenteous! Ich wil dir sin undertan I will ever be in thy debt durch din liebe immer sicherliche. surely for thy goodness’ sake!

Seht mich an, jungen man! Look at me, young men all! Lat mich iu gevallen! Am I not well pleasing?

9. Reie 9. Dance

(a.) Chorus (a.) Chorus Swaz hie gat umbe, They who here go dancing round daz sint allez megede, are young maidens all die wellent ân man who will go without a man alle disen sumer gan! this whole summer long.

(b.) Small Chorus (b.) Small Chorus Chume, chum, geselle min, Come, come, dear heart of mine, ih enbite harte din, I so long have waited for thee. ih enbite harte din, I so long have waited for thee. chume, chum, geselle min. Come, come, dear heart of mine!

Suzer roservarwer munt, Sweetest rosy-colored mouth, chum uñ mache mich gesunt, come and make me well again! chum uñ mache mich gesunt, Come and make me well again, suzer roservarwer munt. sweetest rosy-colored mouth.

(c.) Chorus (c.) Chorus Swaz hie gat umbe, They who here go dancing round daz sint allez megede are young maidens all die wellent ân man who will go without a man alle disen sumer gan! this whole summer long.

10. Chorus 10. Chorus Were diu werlt alle min If the whole world were but mine von deme mere unze an den Rin, from the sea right to the Rhine des wolt ih mih darben, gladly I’d pass it by daz diu chünegin von Engellant if the Queen of England fair lege an minen armen. in my arms did lie.

Book 25.indd 18 2/5/13 4:00 PM 37

II. IN TABERNA II. IN THE TAVERN

11. Baritone 11. Baritone Estuans interius Seething inside ira vehementi with boiling rage in amaritudine in bitterness loquor mee menti: I talk to myself. factus de materia, Made of matter cinis elementi risen from dust similis sum folio, I am like a leaf de quo ludunt venti. tossed in play by the winds. Cum sit enim proprium But whereas it befits viro sapienti a wise man supra petram ponere to build his house sedem fundamenti, on a rock, stultus ego comparor I, poor fool, fluvio labenti, am like a meandering river sub eodem tramite never keeping nunquam permanenti. to the same path.

Feror ego veluti I drift along sine nauta navis, like a pilotless ship ut per vias aeris or like an aimless bird. vaga fertur avis; Carried at random through the air non me tenent vincula, no chains hold me captive, non me tenet clavis, no lock holds me fast, quero mihi similes, I am looking for those like me et adiungor pravis. and I join the depraved.

Mihi cordis gravitas The burdens of the heart res videtur gravis; seem to weigh me down; iocus est amabilis jesting is pleasant dulciorque favis; and sweeter than the honeycomb. quicquid Venus imperat, Whatever Venus commands labor est suavis, is pleasant toil que nunquam in cordibus she never dwells habitat ignavis. in craven hearts.

Via lata gradior On the broad path I wend my way more iuventutis, as is youth’s wont, inplicor et vitiis I am caught up in vice immemor virtutis, and forgetful of virtue, voluptatis avidus caring more for voluptuous pleasure magis quam salutis, than for my health, mortuus in anima dead in spirit, curam gero cutis. I think only of my skin.

12. Tenor 12. Tenor Olim lacus colueram, Once in lakes I made my home olim pulcher extiteram once I dwelt in beauty dum cignus ego fueram. that was when I was a swan.

Male Chorus Male Chorus Miser, miser! Alas, poor me! Modo niger et ustus fortiter! Now I am black and roasted to a turn!

Please turn the page quietly.

Book 25.indd 19 2/5/13 4:00 PM 38

Tenor Tenor Girat, regirat garcifer; On the spit I turn and turn; me rogus urit fortiter: the fire roasts me through propinat me nunc dapifer. now I am presented at the feast.

Male Chorus Male Chorus Miser, miser! Alas poor me! Modo niger et ustus fortiter! Now I am black and roasted to a turn!

Tenor Tenor Nunc in scutella iaceo, Now in a serving dish I lie et volitare nequeo, and can no longer fly, dentes frendentes video: gnashing teeth confront me.

Male Chorus Male Chorus Miser, miser! Alas poor me! Modo niger et ustus fortiter! Now I am black and roasted to a turn!

13. Baritone 13. Baritone Ego sum abbas Cucaniensis I am the abbot of Cucany et consilium meum est cum bibulis, and I like to drink with my friends. et in secta Decii voluntas mea’st I belong from choice to the sect of Decius, et qui mane me quesierit in taberna, and whoever meets me in the morning at the tavern post vesperam nudus egredietur, by evening has lost his clothes, et sic denudatus veste clamabit: and thus stripped of his clothes cries out:

Baritone and Male Chorus Baritone and Male Chorus Wafna! Wafna! Wafna! Wafna! Quid fecisti sors turpissima? What has thou done, oh wicked fate? Nostre vite gaudia All the pleasures of this life abstulisti omnia! thus to take away!

14. Male Chorus 14. Male Chorus In taberna quando sumus, When we are in the tavern non curamus quid sit humus, we spare no thought for the grave sed ad ludum properamus, but rush to the gaming tables cui semper insudamus. where we always sweat and strain. Quid agatur in taberna, What goes on in the tavern ubi nummus est pincerna, where a coin gets you a drink hoc est opus ut queratur, if this is what you would know sic quid loquar, audiatur. then listen to what I say.

Quidam ludunt, quidam bibunt, Some men gamble, some men drink quidam indiscrete vivunt. some indulge in indiscretions, Sed in ludo qui morantur, but of those who stay to gamble ex his quidam denudantur, some lose their clothes, quidam ibi vestiuntur, some win new clothes, quidam saccis induuntur. while others put on sack cloth, Ibi nullus ti met mortem, there no one is afraid of death sed pro Baccho mittunt sortem: but for Bacchus plays at games of chance.

Primo pro nummata vini, First the dice are thrown for wine: ex hac bibunt libertini; this the libertines drink. semel bibunt pro captivis, Once they drink to prisoners, post hec bibunt ter pro vivis, then three times to the living, quater pro Christianis cunctis, four times to all Christians, quinquies pro fidelibus defunctis, five to the faithful departed, sexies pro sororibus vanis, six times to the dissolute sisters, septies pro militibus silvanis. seven to the bush-rangers.

Book 25.indd 20 2/5/13 4:00 PM 38A

Octies pro fratribus perversis, Eight times to delinquent brothers, nonies pro monachis dispersis, nine to the dispersed monks, decies pro navigantibus, ten times to the navigators, undecies pro discordantibus, eleven to those at war, duodecies pro penitentibus twelve to the penitent, tredecies pro iter agentibus. thirteen to travelers. Tam pro papa quam pro rege They drink to the pope and king alike, bibunt omnes sine lege. all drink without restraint.

Bibit hera, bibit herus, The mistress drinks, the master drinks, bibit miles, bibit clerus, the soldier drinks, the man of God, bibit ille, bibit illa, this man drinks, this woman drinks, bibit servis cum ancilla, the manservant drinks with the serving maid, bibit velox, bibit piger, the quick man drinks, the sluggard drinks, bibit albus, bibit niger, the white man and the black man drink, bibit constans, bibit vagus, the steady man drinks, the wanderer drinks, bibit rudis, bibit magnus. the simpleton drinks, the wiseman drinks.

Bibit pauper et egrotus, The poor man drinks, the sick man drinks, bibit exul et ignotus, the exile drinks and the unknown, 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, sister drinks and brother drinks, bibit anus, bibit mater, the old crone drinks, the mother drinks, bibit iste, bibit ille, this one drinks, that one drinks, bibunt centum, bibunt mille. a hundred drink, a thousand drink.

Parum sexcente nummate Six hundred coins are not enough durant, cum immoderate when all these drink too much. bibunt omnes sine meta, And without restraint quamvis bibant mente leta; although they drink cheerfully. sic nos rodunt omnes gentes, Many people censure us et sic erimus egentes. and we shall always be short of money, Qui nos rodunt confundantur may our critics be confounded et cum iustis non scribantur. and never be numbered among the just.

III. COUR D’AMOURS III. THE COURTS OF LOVE

15. Boys Chorus 15. Boys Chorus Amor volat undique; captus est libidine. Love flies everywhere and is seized by desire, Juvenes, iuvencule coniunguntur merito. young men and women are matched together.

Soprano Soprano Siqua sine socio, caret omni gaudio; If a girl lacks a partner she misses all the fun; tenet noctis infima in the depths of her heart sub intimo cordis in custodia: all alone is darkest night;

Boys Chorus Boys Chorus fit res amarissima. it is a bitter fate.

16. Baritone 16. Baritone Dies, nox et omnia Day, night, and all the world michi sunt contraria, are against me, virginum colloquia the sound of maidens’ voices me fay planszer makes me weep. oy suvenz suspirer, I often hear sighing plu me fay temer. and it makes me more afraid.

Please turn the page quietly.

Book 25.indd 21 2/5/13 4:00 PM 38B

O sodales, ludite, O friends, be merry, vos qui scitis dicite, say what you will, michi mesto parcite, but have mercy on me, a sad man, grand ey dolur, for great is my sorrow, attamen consulite yet give me counsel per voster honur. for the sake of your honor.

Tua pulchra facies, Your lovely face me fay planszer milies, makes me weep a thousand tears pectus habet glacies, because your heart is of ice, a remender but I would be restored statim vivus fierem at once to life per un baser. by one single kiss.

17. Soprano 17. Soprano Stetit puella rufa tunica; There stood a young girl in a red tunic; si quis eam tetigit, if anyone touched her tunica crepuit. Eia. the tunic rustled. Heigh-ho.

Stetit puella tamquam rosula; There stood a girl fair as a rose, facie splenduit, her face was radiant, os eius floruit. Eia. her mouth like a flower. Heigh-ho.

18. Baritone and Chorus 18. Baritone and Chorus Circa mea pectora multa sunt suspiria My breast is filled with sighing de tua pulchritudine, for your loveliness que me ledunt misere. and I suffer grievously. Manda liet, manda liet, Manda liet, manda liet, min geselle chomet niet! my sweetheart comes not. Tui lucent oculi sicut solis radii, Your eyes shine like sunlight, sicut splendor fulguris like the splendor of lightning lucem donat tenebris. in the night. Manda liet, manda liet, Manda liet, manda liet, min geselle chumet niet. my sweetheart comes not. Vellet deus, vellent dii, May God grant, may the Gods permit quod mente proposui: the plan I have in mind ut eius virginea reserassem vincula. to undo the bonds of her virginity. Manda liet, manda liet, Manda liet, manda liet, min geselle chumet niet. my sweetheart comes not.

19. Male Chorus 19. Male Chorus Si puer cum puellula If a boy and a girl moraretur in cellula, linger together, felix coniunctio. happy is their union; Amore suscrescente, increasing love pariter e medio leaves tedious good sense avulso procul tedio, far behind, fit ludus ineffabilis and inexpressible pleasure fills membris, lacertis, labiis. their limbs, their arms, their lips.

20. Double Chorus 20. Double Chorus Veni, veni, venias, ne me mori facias, Come, come pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos! hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, Lovely is your face, the glance of your eyes, capillorum series, o quam clara species! the braids of your hair, oh how beautiful you are!

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

Book 25.indd 22 2/5/13 4:00 PM 38C

21. Soprano 21. Soprano In trutina mentis dubia In the scales fluctuant contraria of my wavering indecision lascivus amor et pudicitia. physical love and chastity are weighted. Sed eligo quod video, But I choose what I see. collum iugo prebeo; I bow my head in submission ad iugum tamen suave transeo. and take on the yoke which is after all sweet.

22. Chorus 22. Chorus Tempus es iocundum, o virgines, Pleasant is the season O maidens, modo congaudete vos iuvenes. now rejoice together young men.

Baritone Baritone Oh—oh, totus floreo! Oh, oh, I blossom Iam amore virginali totus ardeo, now with pure love I am on fire! novus, novus amor est, quo pereo. This love is new, is new, of which I perish.

Female Chorus Female Chorus Mea me confortat promissio, My love brings me comfort, when she promises, mea me deportat negatio. but makes me distraught with her refusal.

Soprano and Boys Chorus Soprano and Boys Chorus Oh—oh totus floreo, Oh, oh I blossom, iam amore virginali totus ardeo, now with pure young love I am on fire! novus, novus amor est, quo pereo. This love is new, is new, of which I perish.

Male Chorus Male Chorus Tempore brumali vir patiens, In winter time the man is lazy animo vernali lasciviens. in spring he will become merry.

Baritone Baritone Oh—oh, totus floreo, Oh, oh, I blossom, iam amore virginali totus ardeo, now with pure young love I am on fire! novus, novus amor est, quo pereo. This love is new, is new, of which I perish.

Female Chorus Female Chorus Mea mecum ludit virginitas, My chastity teases me mea me detrudit simplicitas. but my innocence holds me back.

Soprano and Boys Chorus Soprano and Boys Chorus Oh—oh, totus floreo, Oh, oh, I blossom, iam amore virginali totus ardeo, now with pure young love I am on fire! novus, novus amor est, quo pereo. This love is new, is new, of which I perish.

Chorus Chorus Veni, domicella, cum gaudio, Come my darling, come with joy, veni, veni, pulchra, iam pereo. come my beauty, for already I die!

Baritone, Boys Chorus, and Chorus Baritone, Boys Chorus, and Chorus Oh—oh, totus floreo, Oh, oh, I blossom, iam amore virginali totus ardeo, now with pure young love I am on fire! novus, novus amor est, quo pereo. This love is new, is new, of which I perish.

23. Soprano 23. Soprano Dulcissime, totam tibi subdo me! Sweetest boy I give my all to you!

Please turn the page quietly.

Book 25.indd 23 2/5/13 4:00 PM 38D

BLANZIFLOR ET HELENA BLANZIFLOR AND HELENA

24. Chorus 24. Chorus Ave formosissima, Hail to thee most love gemma pretiosa, most precious jewel, ave decus virginum, hail pride of virgins! virgo gloriosa, Most 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, Hail.

FORTUNA IMPERATRIX MUNDI FORTUNE EMPRESS OF THE WORLD

25. Chorus 25. Chorus O Fortuna, velut Luna O Fortune! Like the moon statu variabilis, everchanging semper crescis aut decrescis; rising first then declining; vita detestabilis hateful life nunc obdurat et tunc curat treats us badly then with kindness ludo mentis aciem, making sport with our desires, egestatem, potestatem causing power and poverty alike dissolvit ut glaciem. to melt like ice.

Sors immanis et inanis, Dread destiny and empty fate, rota tu volubilis, an ever-turning wheel, status malus, vana salus who make adversity and fickle health semper dissolubilis, alike turn to nothing, obumbrata et velata in the dark and secretly michi quoque niteris; you work against me; nunc per ludum dorsum nudum how through trickery my naked back fero tui sceleris. is turned to you unarmed.

Sors salutis et virtutis Good fortune and strength michi nunc contraria now are turned from me. est affectus et defectus Affection and defeat semper in angaria. are always on duty. Hac in hora sine mora Come now, pluck the strings corde pulsum tangite; without delay; quod per sortem sternit fortem, and since by fate the strong are overthrown mecum omnes plangite! weep ye all with me.

Book 25.indd 24 2/5/13 4:00 PM