Label: Telarc (US), SACD-60575
Style: Pop Classical, Classical
Country: US / Scotland
Time: 59:40
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb
Atlanta Symphony Orchestra & Chorus. Conductor Donald Runnicles (born November 16, 1954 in Edinburgh, Scotland).
Carmina
Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24
poems from the medieval collection Carmina Burana. Its full Latin title
is Carmina Burana: Cantiones profanae cantoribus et choris cantandae
comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern:
Secular songs for singers and choruses to be sung together with
instruments and magical images"). It was first performed by the Oper
Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that
also includes Catulli Carmina and Trionfo di Afrodite. The first and
last sections of the piece are called "Fortuna Imperatrix Mundi"
("Fortune, Empress of the World") and start with "O Fortuna".
The
autograph manuscript of the work is preserved in the Bavarian State
Library, and was issued in a facsimile edition by Schott Music.
Orff's
style demonstrates a desire for directness of speech and of access.
Carmina Burana contains little or no development in the classical sense,
and polyphony is also conspicuously absent. Carmina Burana avoids overt
harmonic complexities, a fact which many musicians and critics have
pointed out, such as Ann Powers of The New York Times.
Orff was
influenced melodically by late Renaissance and early Baroque models
including William Byrd and Claudio Monteverdi. It is a common
misconception that Orff based the melodies of Carmina Burana on
neumeatic melodies; while many of the lyrics in the Burana Codex are
enhanced with neumes, almost none of these melodies had been deciphered
at the time of Orff's composition, and none of them had served Orff as a
melodic model. His shimmering orchestration shows a deference to
Stravinsky. In particular, Orff's music is very reminiscent of
Stravinsky's earlier work Les noces (The Wedding).
Rhythm, for Orff
as it was for Stravinsky, is often the primary musical element. Overall,
Carmina Burana sounds rhythmically straightforward and simple, but the
metre changes freely from one measure to the next. While the rhythmic
arc in a section is taken as a whole, a measure of five may be followed
by one of seven, to one of four, and so on, often with caesura marked
between them.
Some of the solo arias pose bold challenges for
singers: the only solo tenor aria, Olim lacus colueram, is often sung
almost completely in falsetto to demonstrate the suffering of the
character (in this case, a roasting swan). The baritone arias often
demand high notes not commonly found in baritone repertoire, and parts
of the baritone aria Dies nox et omnia are often sung in falsetto, a
rare example in baritone repertoire. Also noted is the solo soprano aria
Dulcissime, which demands extremely high notes. Orff intended this aria
for a lyric soprano, not a coloratura, so that the musical tensions
would be more obvious.
(en.wikipedia.org/wiki/Carmina_Burana_(Orff))
01. O Fortuna (02:26)
02. Fortune plango vulnera (02:33)
03. Veris leta facies (04:05)
04. Omnia sol temperat (02:20)
05. Ecce gratum (02:35)
06. Tanz (03:21)
07. Floret silva nobilis (01:39)
08. Chramer, gip die varwe mir (03:45)
09. Reie (Orchestra) and Songs (05:15)
10. Were diu werit alle min (00:56)
11. Estuans interius (02:10)
12. Olim lacus colueram (03:28)
13. Ego sum abbas (01:22)
14. In taberna quando sumus (03:04)
15. Amor volat undique (03:09)
16. Dies, nox et omnia (02:17)
17. Stetit puella (01:47)
18. Circa mea pectora (01:51)
19. Si puer cum puellula (00:51)
20. Veni, veni, venias (00:57)
21. In trutina (01:57)
22. Tempus est iocundum (02:19)
23. Dulcissime (00:48)
24. Ave formosissima (01:57)
25. O Fortuna (02:36)
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