Some are macaronic , a mixture of Latin and German or French vernacular. They were written by students and clergy when Latin was the lingua franca throughout Italy and western Europe for travelling scholars, universities, and theologians. The collection was found in in the Benedictine monastery of Benediktbeuern , Bavaria, and is now housed in the Bavarian State Library in Munich. Twenty-four poems in Carmina Burana were set to music by Carl Orff in His composition quickly became popular and a staple piece of the classical music repertoire.
So at this hour pluck the vibrating strings; because fate brings down even the strong, everyone weep with me. Ovid and especially his erotic elegies were reproduced, imitated and exaggerated in the Carmina Burana. It is less clear how the Carmina Burana traveled to Benediktbeuern. Were diu werlt alle min His first reaction was to bewail the danger that Fortyna himself would now be ruined. Jahrhundertin: Walter Haug ed.
Donna bella hair extensions wigs. The Carmina Burana of Carl Orff
It's been used for TV commercials and movie soundtracks, and it is frequently performed by professional musicians around the world.
- Carmina Burana is a scenic cantata composed in and by Carl Orff , based on 24 poems from the medieval collection Carmina Burana.
- But have you ever wondered where its familiar title comes from?
T he name Carl Orff generally means one of two things. The first is that Orff was the composer of the insistently earthy Carmina Burana, the ever-popular choral celebration of sex, drinking and youthful excess made famous at Premier League football grounds and in television ads for aftershave and lager. But these other achievements have inevitably been overshadowed by Carmina Burana and the career in Hitler's Germany.
The cantata stands at the centre of Orff's output, while the Nazi connection affects every judgment about him. It was the first performance of Carmina Burana in Frankfurt in that established the Bavarian, then 41, as a major musical figure. But Carmina Burana also made Orff's name in Nazi cultural circles. After some initial official discomfort about the work's frank sexual innuendos, Orff's cantata was elevated to the status of a signature piece in Nazi circles, where it was treated as an emblem of Third Reich "youth culture".
But, as Tony Palmer's new film about Orff, O Fortuna, establishes, there is another thing we ought to know about the composer as well. The film, which takes its title from the opening phrase of Carmina Burana, makes it clear that Orff had the psychology of a permanent adolescent. He thought first and mainly about himself. He could not sustain adult relationships - including with a daughter whom he rejected.
Midth-century Germany was unusually full of adults who wanted to forget their own and their society's failings during the Nazi years. Watching clips of Orff in Palmer's film, it is tempting to see him as a recognisable type of postwar German, a man carrying his part of a shared trauma about which he preferred to remain silent.
Orff himself was never a paid-up Nazi. But he prospered under National Socialist rule and he had a particular ugly secret of his own from the Nazi period, which Palmer's research has brought into the light. In his home town of Munich, Orff had long been a close friend of the Swiss-born academic Kurt Huber, who had helped him with his librettos for Carmina Burana and other works.
Huber, however, was an anti-Nazi oppositionist, unlike Orff. Indeed, Huber was a founder of the White Rose resistance movement. This led to his arrest by the Gestapo in February , after which he was tortured, given a show trial and executed.
Orff called at Huber's house the day after the arrest, unaware of what had happened, and was informed about Huber's fate. His first reaction was to bewail the danger that he himself would now be ruined. Huber's wife pleaded with Orff to make representation or a statement on Huber's behalf. But Orff said nothing. She and the composer never met again.
Orff's self-protective reflex can certainly be understood. But Orff's moral slipperiness did not end there. Indeed, as Palmer shows, it gave way to a much less understandable hypocrisy. In , the composer was interrogated by the denazification authorities. Eager to put himself on the right side of the Americans, Orff lied to his interrogators, claiming that he himself had been a co-founder of the White Rose group along with Huber.
Orff was given the all-clear; he returned to public life and eminence in the new West Germany, where he worked and lived until his death in Unsurprisingly, however, he was secretly ashamed of his guilty secret.
Shortly after receiving his denazification all-clear, Orff wrote out his feelings of guilt in an apologetic letter to the dead Huber - which was, of course, never made public. All this tells us a lot about Orff the man. But what, if anything, does it tell us about Orff the musician? On the face of it, nothing very much at all. It is hard to believe that either the enduring critical iciness towards Orff or the lack of establishment interest in performing any of his works other than Carmina Burana - and that only with a clothes-peg clamped ostentatiously over the managerial nose - are unrelated to Orff's chequered history.
In some ways, this is extremely unfair to Orff. He was, after all, a product of the Germany of his entire lifetime, not just of the Nazi years.
The idea that composers should write music that was accessible to all classes - which Orff embodied in his Schulwerk projects for the musical education of children, and in some of his compositions for adult audiences - was widely shared in socialist and non-socialist Europe throughout the interwar period, as well as in America. It is far from dead today, as the arts policies of the Labour government typify, and certainly far from discredited.
As Alex Ross puts it in his lauded survey of 20th-century music, The Rest Is Noise which skates rather quickly over Orff in other respects : "Untold millions of children would learn the basics of musical language by tapping out notes on the mallet percussion instruments that Orff had constructed to his purposes.
The musical establishment may continue to agonise over the important question of whether a bad man can produce a great piece of work, or whether Orff's sub-Stravinskyan ostinatos are an explicit homage to the ethnic paganism in which the Nazis wallowed.
But the musical public decided long ago that it has no such inhibitions. Details: tonypalmerdvd. Topics Classical music. Reuse this content.
Within each scene, and sometimes within a single movement, the wheel of fortune turns, joy turning to bitterness, and hope turning to grief. Classical music portal. The Nazi regime was at first nervous about the erotic tone of some of the poems,  but eventually embraced the piece. See also Subsequent arrangements below. Carmina Burana is a scenic cantata composed in and by Carl Orff , based on 24 poems from the medieval collection Carmina Burana.
Carmina burana o fortuna sex. Now Playing
How "Carmina Burana" and Nazi Germany are Linked
O Fortuna 2. Fortunae plango vulnera 3. Veris laeta facies 4. Omnia sol temperata 5. Ecce gratum 6. Tanz - instrumental 7. Floret silva nobilis 8. Chramer, gip die varwe mir 9. Swaz hie gat umbe Were diu werlt alle min Aestuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus Amor volat undique Dies, nox, et omnia Stetit puella Circa mea pectora Si puer cum puella Veni, veni, venias In trutina Tempus est iocundum Dulcissime Ave formosissima.
They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. The main language is Latin; a few are in German or are macaronic, i. The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation.
No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students and no doubt a good many hangers-on moved about Europe from one university town to another.
There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits such rustici are a frequent butt in the Carmina Burana and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied.
Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures.
The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today's society would find hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefly, one may conjecture, to entertain their fellows as they caroused.
At its best it has spontaneity and freshness which compensate for its limited range and technique. We must, however, always remember that the Carmina Burana were written by people for whom Latin was an acquired language. All too often we find a vague wordiness the first poem is the worst offender in our selection and sometimes an outright misuse of words which must have been difficult for even a contemporary to understand.
Because the Latin texts given below are intended for those studying the classical language, the normal spelling used for classical Latin has been adopted. The recordings of Orff's selection follow medieval pronunciation to a large extent, and the following should be noted: Classical Latin ae and oe are both pronounced as e ti when preceded by a vowel is pronounced as tzi , e.
Instead, we have stanzas where lines are rhymed according to various patterns. The rhythm of individual lines is determined by word accent. The similarity with certain traditional forms of English poetry is striking. The sixth and the twenty-fifth are not give here as the former is a dance without words and the latter is a repetition of the first song.
For those who are not already acquainted with Orff's Carmina Burana, many recordings are available.