Season 2012-2013 - The Philadelphia Orchestra

23
Season 2012-2013
Thursday, February 14,
at 8:00
Friday, February 15, at 2:00
Saturday, February 16,
at 8:00
The Philadelphia Orchestra
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 Symphony 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. Rondo
Intermission
Program continued
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24
Orff Carmina burana
Fortuna Imperatrix Mundi:
1. O Fortuna (chorus)
2. Fortune plango vulnera (chorus)
I. Primo vere:
3. Veris leta facies (small chorus)
4. Omnia sol temperat (baritone)
5. Ecce gratum (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. In taberna quando sumus (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.
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25
3 Story Title
The Philadelphia Orchestra
Jessica Griffin
Renowned for its distinctive
sound, beloved for its
keen ability to capture the
hearts and imaginations
of audiences, and admired
for an unrivaled legacy of
“firsts” in music-making,
The Philadelphia Orchestra
is one of the preeminent
orchestras in the world.
The Philadelphia
Orchestra has cultivated
an extraordinary history of
artistic leaders in its 112
seasons, including music
directors Fritz Scheel, Carl
Pohlig, Leopold Stokowski,
Eugene Ormandy, Riccardo
Muti, Wolfgang Sawallisch,
and Christoph Eschenbach,
and Charles Dutoit, who
served as chief conductor
from 2008 to 2012. With
the 2012-13 season,
Yannick Nézet-Séguin
becomes the eighth music
director of The Philadelphia
Orchestra. Named music
director designate in 2010,
Nézet-Séguin brings a
vision that extends beyond
symphonic music into the
Book 25.indd 3
vivid world of opera and
choral music.
Philadelphia is home and
the Orchestra nurtures
an important relationship
not only with patrons who
support the main season
at the Kimmel Center for
the Performing Arts but
also those who enjoy the
Orchestra’s other area
performances at the Mann
Center, Penn’s Landing,
and other venues. The
Philadelphia Orchestra
Association also continues
to own the Academy of
Music—a National Historic
Landmark—as it has since
1957.
Through concerts,
tours, residencies,
presentations, and
recordings, the Orchestra
is a global ambassador
for Philadelphia and for
the United States. Having
been the first American
orchestra to perform in
China, in 1973 at the
request of President Nixon,
today The Philadelphia
Orchestra boasts a new
partnership with the
National Centre for the
Performing Arts in Beijing.
The Orchestra annually
performs at Carnegie Hall
and the Kennedy Center
while also enjoying a
three-week residency in
Saratoga Springs, N.Y., and
a strong partnership with
the Bravo! Vail Valley Music
Festival.
The ensemble maintains
an important Philadelphia
tradition of presenting
educational programs for
students of all ages. Today
the Orchestra executes a
myriad of education and
community partnership
programs serving nearly
50,000 annually, including
its Neighborhood Concert
Series, Sound All Around
and Family Concerts, and
eZseatU.
For more information on
The Philadelphia Orchestra,
please visit www.philorch.org.
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 symphonies 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 violin, 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 composer Manuel de Falla.
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27
Soloists
Joanne Bening
Dario Acosta
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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.
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
Flute, 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.
2/5/13 4:00 PM
28
Soloists
Balance Photography
Larry Lapidus
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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.
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.
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.
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30
Framing the Program
Parallel Events
1759
Haydn
Symphony
No. 1
1803
Hummel
Trumpet
Concerto
1935
Orff
Carmina
burana
Book 25.indd 8
Music
Abel
Symphony
in G
Literature
Voltaire
Candide
Art
Gainsborough
Self-Portrait
History
Mt. Vesuvius
erupts
Music
Beethoven
Symphony
No. 3
Literature
Schiller
Der Braut
von Messina
Art
West
Christ Healing
the Sick
History
Louisiana
Purchase
Many composers agonize long and hard before writing
a first symphony, in some cases delaying such a grand
statement for decades. Not so Franz Joseph Haydn, who
composed the first of his more than 100 symphonies
when he was in his mid-20s; he did so when called upon
for such a work by his wealthy employer. Over the next
40 years, Haydn was the one who brought the genre to
prominent artistic status. It is for this reason that he is
justly (if not historically accurately) known as the “Father
of the Symphony” and today we have the rare opportunity
to hear his exciting first symphonic child.
While Johann Nepomuk Hummel is hardly a household
name today, this student of Mozart and friend of
Beethoven was very highly regarded in his own time.
We hear on this concert a composition that has helped
bring him back into the modern orchestral repertoire, a
brilliant Trumpet Concerto that reveals his stylistic position
between the Classical and Romantic eras.
Carl Orff’s Carmina burana is among a handful of imposing
20th-century compositions that has established a firm place
in the concert repertory while also being enthusiastically
embraced by popular culture. This grand choral
extravaganza, based on medieval poems, encompasses
a wide range of themes, from the bawdy to the elevated,
beginning with the famous invocation to Fortune.
Music
Shostakovich
Symphony
No. 4
Literature
Auden
On this Island
Art
Epstein
Ecce Homo
History
Spanish Civil
War begins
2/5/13 4:00 PM
30A
The Music
Symphony No. 1
Franz Joseph Haydn
Born in Rohrau, Lower
Austria, March 31, 1732
Died in Vienna, May 31,
1809
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
started it all and who has long been hailed as the “Father
of the Symphony.” While that reputation may be artistically
well deserved, it is not historically accurate. Yet even if
Haydn did not “invent” the symphony (as with more justice
one could say he did the string quartet) 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 1750s, 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.
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2/5/13 4:00 PM
30B
Haydn composed his First
Symphony in 1759.
Rafael Frühbeck de Burgos
was on the podium for the
first Philadelphia Orchestra
performances of the work,
in November 1982. Since
then the Symphony has been
heard only one other time on
the Orchestra’s programs,
in April 1995, with Mark
Wigglesworth.
The piece is scored for two
oboes, one bassoon, two
horns, harpsichord, and strings.
Performance time is
approximately 11 minutes.
At the Request of a Count The post of Kapellmeister—
basically, music director—put Haydn in charge of a small
orchestra, and it was for this ensemble that he composed
his earliest symphonies. There are about 15 such works
dating from the Morzin period, although they do not
follow the standard numbering of Haydn’s symphonies
as catalogued in 1907. The genre of the symphony had
been developed earlier in the 18th century by figures
such as Giovanni Battista Sammartini and Johann Stamitz.
Some of the most prominent composers were connected
with the city of Mannheim, which boasted the leading
orchestra of the day.
The early symphonic form was closely allied to opera
overtures (in Italian a sinfonia), which were usually in three
movements. Most of Haydn’s initial symphonies, including
the one we hear today, employ such an overture layout:
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 Antonio
Salieri, now most remembered for supposedly murdering
Mozart). A rising theme in the violins 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
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30C
The Music
Trumpet Concerto in E major
Johann Nepomuk Hummel
Born in Pressburg (now
Bratislava), November 14,
1778
Died in Weimar, October 17,
1837
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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
outlook, to the age of Rossini, not to the age of Haydn
and Mozart; the development of Beethoven who carried
on the classical tradition against the current of his time
must have been incomprehensible to him.”
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 Muzio Clementi
(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
2/5/13 4:00 PM
30D
Hummel composed his Trumpet
Concerto in 1803.
brilliance of younger pianists and composers eclipsed his
once shining fame, and his work slid into obscurity.
The first, and only other,
Philadelphia Orchestra
performance of the Concerto
was in June 1990 at the Mann
Center, with trumpeter Håkan
Hardenberger and Charles
Dutoit.
Due to an accident of history, Hummel’s reputation was
rehabilitated in the mid-20th century in large part due to
the rediscovery of his coruscating Concerto for Trumpet
in E major. (Today we’ll hear the revised 2007 second
edition in E-flat major, edited by Clark McAlister, who
undertook the transposition in response to the continuing
demand for a version in that key.) In 1958 a student at
Yale University, Merrill Debsky, who was searching for a
suitable piece to play on his trumpet recital, ordered a
copy of Hummel’s Concerto from the British Library. Alas,
the music failed to arrive in time. When the Concerto was
finally delivered, Debsky sent it on to the trumpet virtuoso
Armando Ghitalla, who recognized its quality at once.
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.
The score calls for flute, two
oboes, two clarinets, two
bassoons, two horns, timpani,
and strings, in addition to the
solo trumpet.
The work lasts approximately
20 minutes in performance.
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
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31
The Music
Carmina burana
Carl Orff
Born in Munich, July 10, 1895
Died there, March 29, 1982
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
throughout Orff’s compositions, and is a salient feature of
Carmina burana, his most spectacularly popular work, and
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.
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32
Carmina burana was
composed from 1935 to 1936.
Thor Johnson conducted the
first Philadelphia Orchestra
performances of Carmina
burana, in Ann Arbor, Michigan,
in May 1955; the piece was
then presented on a regular
subscription program in
April 1960, under Eugene
Ormandy’s baton. Most recently
on subscription, Christoph
Campestrini conducted it in
March 2008.
The Orchestra recorded the
work for CBS in 1960 with
Ormandy, soprano Janice
Harsanyi, tenor Rudolf Petrak,
baritone Harve Presnell, and
the Rutgers University Choir.
The score calls for three
flutes (II and III doubling
piccolo), three oboes (III
doubling English horn), two
bassoons, contrabassoon, four
horns, three trumpets, three
trombones, tuba, timpani,
percussion (antique cymbals,
bass drum, castanets, chimes,
cymbals, glockenspiel, ratchet,
sleigh bells, snare drum,
suspended cymbal, tam-tam,
tambourine, triangle), celesta,
two pianos, strings, soprano,
tenor, bass, mixed chorus, and
boys chorus.
Running time is approximately
one hour.
After drink comes love. Beginning with No. 15 (“Amor
volat undique”), Orff’s music becomes subtly sensuous,
even innocent, while at the same time revealing a mature
wisdom about such matters. The “Blanziflor et Helena”
chorus (No. 24) is a final Dionysian tribute to sensuality;
the work closes with a reiteration of the opening chorus,
a declaration of destiny’s final arbitrary command of love,
life, and death.
The composer has written the following comments about
the piece:
“Fortuna” smiled upon me when she brought into my
hands a catalog from a Würzburg rare book shop,
where I found a title that drew me in with an almost
magical power: Carmina Burana / Latin and German
Songs and Poems / from a 13th-Century Manuscript
from Benediktbeuern / edited by J.A. Schmeller. This
manuscript had been kept in the Benediktbeuern
Monastery until it was brought to the Royal Court
Library in Munich, in the wake of the secularization
of the Bavarian monasteries. It was given its name
Carmina burana—songs from Benediktbeuern—by
its editor, the estimable archivist Johann Andreas
Schmeller, who had first published it in 1847.
I received the volume on Maundy Thursday of 1934,
a day that is still memorable to me. Upon turning
to the first page I found the well-known image of
“Fortune with Her Wheel,” and under it the lines “O
Fortuna velut luna statu variabilis ...” (O Fortune, like
the moon, everchanging).
Image and Word overtook me. Although at the
beginning I could familiarize myself only in broad
strokes with the contents of the collection, a brandnew work appeared in my imagination—a stage
piece with chorus and dancers—simply as a result
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
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33
Program notes © 2013. All
rights reserved. Program notes
may not be reprinted without
written permission from
The Philadelphia Orchestra
Association and/or Byron
Adams.
collections contained neumes ... but I had neither
the desire nor the ability to undertake the research
necessary to decipher this ancient musical notation.
So I interpreted them rather casually. The things that
moved me most of all were the sweeping rhythmic
drive, the picturesqueness of the poetry, and (not
least of all) the unusually concise Latin text.
—Paul J. Horsley
FORTUNA IMPERATRIX MUNDI
FORTUNE EMPRESS OF THE WORLD
1. Chorus
O Fortuna, velut Luna
statu variabilis,
semper crescis aut decrescis;
vita detestabilis
nunc obdurat et tunc curat
ludo mentis aciem,
egestatem, potestatem
dissolvit ut glaciem.
1. Chorus
O Fortune! Like the moon
everchanging
rising first then declining;
hateful life
treats us badly then with kindness
making sport with our desires,
causing power and poverty alike
to melt like ice.
Sors immanis et inanis,
rota tu volubilis,
status malus, vana salus
semper dissolubilis,
obumbrata et velata
michi quoque niteris;
nunc per ludum dorsum nudum
fero tui sceleris.
Dread destiny and empty fate,
an ever-turning wheel,
who make adversity and fickle health
alike turn to nothing,
in the dark and secretly
you work against me;
how through your trickery my naked back
is turned to you unarmed.
Sors salutis et virtutis
michi nunc contraria
est affectus et defectus
semper in angaria.
Hac in hora sine mora
corde pulsum tangite;
quod per sortem sternit fortem,
mecum omnes plangite!
Good fortune and strength
now are turned from me.
Affection and defeat
are always on duty.
Come now pluck the strings
without delay;
and since by fate the strong are overthrown
weep ye all with me.
2. Chorus
Fortune plango vulnera
stillantibus ocellis,
quod sua michi munera
subtrahit rebellis.
Verum est, quod legitur
fronte capillata,
sed plerumque sequitur
occasio calvata.
2. Chorus
I lament the wounds that Fortune deals
with tear-filled eyes
for returning to the attack
she takes her gifts from me.
It is true
as they say,
the well-thatched pate
may soonest lose its hair.
In Fortune solio
sederam elatus,
prosperitatis vario
flore coronatus;
quicquid enim florui
felix et beatus,
nunc a summo corrui
gloria privatus.
Once on Fortune’s throne
I sat exalted
crowned with a wreath
of Prosperity’s flowers.
But from my happy
flower-decked paradise
I was struck down
and stripped of all my glory.
Please turn the page quietly.
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34
Fortune rota volvitur:
descendo minoratus;
alter in altum tollitur
nimis exaltatus
rex sedet in vertice
caveat ruinam!
Nam sub axe legimus
Hecubam reginam.
The wheel of Fortune turns,
dishonored I fall from grace
and another is raised on high.
Raised to over dizzy heights of power
the king sits in majesty
but let him beware his downfall!
For ’neath the axle of Fortune’s wheel
behold Queen Hecuba.
I. PRIMO VERE
I. SPRINGTIME
3. Small Chorus
Veris leta facies
mundo propinatur,
hiemalis acies
victa iam fugatur.
In vestitu vario
Flora principatur,
nemorum dulcisono,
que cantu celebratur.
3. Small Chorus
The joyous face of spring
is presented to the world.
Winter’s army
is conquered and put to flight.
In colorful dress
Flora is arrayed
and the woods are sweet
with birdsong in her praise.
Flore fusus gremio
Phebus novo more
risum dat, hac vario
iam stipate flore.
Zephyrus nectareo
spirans it odore;
certatim pro bravio
curramus in amore.
Reclining in Flora’s lap
Phoebus again
laughs merrily
covered with many colored flowers.
Zephyr breathes around
the scented fragrance;
eagerly striving for the prize.
Let us compete in love.
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam gaudia millena.
Trilling her song
sweet Philomel is heard
and smiling with flowers
the peaceful meadows lie,
a flock of wild birds
rises from the woods;
the chorus of maidens
brings a thousand joys.
4. Baritone
Omnia Sol temperat
purus et subtilis,
novo mundo reserat
faciem Aprilis,
ad Amorem properat
animus herilis,
et iocundis imperat
deus puerilis.
4. Baritone
All things are tempered by the Sun
so pure and fine.
In a new world are revealed
the beauties of April,
to thoughts of love
the mind of man is turned
and in pleasure’s haunts
the youthful God holds sway.
Rerum tanta novitas
in solemni vere
et veris auctoritas
iubet nos gaudere,
vias prebet solitas,
et in tuo vere
fides est et probitas
tuum retinere.
Nature’s great renewal
in solemn spring
and spring’s example
bid us rejoice;
they charge us keep to well-worn paths,
and in your springtime
there is virtue and honesty
in being constant to your lover.
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35
Ama me fideliter!
Fidem meam nota:
de corde totaliter
et ex mente tota
sum presentialiter
absens in remota.
Quisquis amat taliter,
volvitur in rota.
Love me truly!
Remember my constancy.
With all my heart
and all my mind
I am with you
even when far away.
Whoever knows such love
knows the torture of the wheel.
5. Chorus
Ecce gratum et optatum
ver reducit gaudia,
purpuratum floret pratum.
Sol serenat omnia.
Iam iam cedant tristia!
Estas redit, nunc recedit
Hyemis sevitia.
5. Chorus
Behold the welcome long-awaited
spring, which brings back pleasure
and with crimson flowers adorns the fields.
The Sun brings peace to all around.
Away with sadness!
Summer returns, and now departs
cruel winter.
Iam liquescit et decrescit
grando, nix etcetera;
bruma fugit, et iam sugit
ver estatis ubera;
illi mens est misera,
qui nec vivit, nec lascivit
sub estatis dextera.
Melt away and disappear
hail, ice, and snow;
the mists flee and spring is fed
at summer’s breast;
wretched is the man
who neither lives nor lusts
under summer’s spell.
Gloriantur et letantur
in melle dulcedinis,
qui conantur, ut utantur
premio Cupidinis;
simus jussu Cypridis
gloriantes et letantes
pares esse Paridis.
They taste delight and honeyed sweetness
who strive for
and gain Cupid’s reward.
Let us submit
to Venus’s rule
and joyful and proud
be equal to Paris.
UF DEM ANGER
ON THE GREEN
6. Tanz: Orchestra
6. Dance: Orchestra
7. Chorus
Floret silva nobilis
floribus et foliis.
7. Chorus
The noble forest
is decked with flowers and leaves.
Small Chorus
Ubi est antiquus
meus amicus?
Hinc equitavit,
eia quis me amabit?
Small Chorus
Where is my old
long-lost lover?
He rode away on his horse.
Alas, who will love me now?
Chorus
Floret silva undique,
nah mime gesellen ist mir wê.
Chorus
The forest all around is in flower.
I long for my lover.
Small Chorus
Gruonet der walt allenthalben,
wâ ist min geselle alse lange?
Der ist geriten hinnen,
o wî, wer sol mich minnen?
Small Chorus
The forest all around is in flower
whence is my lover gone?
He rode away on his horse.
Alas, who will love me now?
Please turn the page quietly.
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36
8. Soprano and Small Chorus
Chramer, gip die varwe mir,
die min wengel roete,
da mit ich die jungen man
an ir dank der minnenliebe noete.
8. Soprano and Small Chorus
Salesman! Give me colored paint,
to paint my cheeks so crimson red,
that I may make these bold young men,
whether they will or no, to love me.
Seht mich an, jungen man!
Lat mich iu gevallen!
Look at me, young men all!
Am I not well pleasing?
Minnet, tugentliche man,
minnecliche frouwen!
Minne tuot iu hoch gemout
unde lat iuch in hohen eren schouwen.
Love, all you right-thinking men,
women worthy to be loved!
Love shall raise your spirits high
and put a spring into your step.
Seht mich an, jungen man!
Lat mich iu gevallen!
Look at me, young men all!
Am I not well pleasing?
Wol dir, Werlt, daz du bist
also freudenriche!
Ich wil dir sin undertan
durch din liebe immer sicherliche.
Hail to thee, o world that are
in joy so rich and plenteous!
I will ever be in thy debt
surely for thy goodness’ sake!
Seht mich an, jungen man!
Lat mich iu gevallen!
Look at me, young men all!
Am I not well pleasing?
9. Reie
9. Dance
(a.) Chorus
Swaz hie gat umbe,
daz sint allez megede,
die wellent ân man
alle disen sumer gan!
(a.) Chorus
They who here go dancing round
are young maidens all
who will go without a man
this whole summer long.
(b.) Small Chorus
Chume, chum, geselle min,
ih enbite harte din,
ih enbite harte din,
chume, chum, geselle min.
(b.) Small Chorus
Come, come, dear heart of mine,
I so long have waited for thee.
I so long have waited for thee.
Come, come, dear heart of mine!
Suzer roservarwer munt,
chum uñ mache mich gesunt,
chum uñ mache mich gesunt,
suzer roservarwer munt.
Sweetest rosy-colored mouth,
come and make me well again!
Come and make me well again,
sweetest rosy-colored mouth.
(c.) Chorus
Swaz hie gat umbe,
daz sint allez megede
die wellent ân man
alle disen sumer gan!
(c.) Chorus
They who here go dancing round
are young maidens all
who will go without a man
this whole summer long.
10. Chorus
Were diu werlt alle min
von deme mere unze an den Rin,
des wolt ih mih darben,
daz diu chünegin von Engellant
lege an minen armen.
10. Chorus
If the whole world were but mine
from the sea right to the Rhine
gladly I’d pass it by
if the Queen of England fair
in my arms did lie.
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37
II. IN TABERNA
II. IN THE TAVERN
11. Baritone
Estuans interius
ira vehementi
in amaritudine
loquor mee menti:
factus de materia,
cinis elementi
similis sum folio,
de quo ludunt venti.
Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor
fluvio labenti,
sub eodem tramite
nunquam permanenti.
11. Baritone
Seething inside
with boiling rage
in bitterness
I talk to myself.
Made of matter
risen from dust
I am like a leaf
tossed in play by the winds.
But whereas it befits
a wise man
to build his house
on a rock,
I, poor fool,
am like a meandering river
never keeping
to the same path.
Feror ego veluti
sine nauta navis,
ut per vias aeris
vaga fertur avis;
non me tenent vincula,
non me tenet clavis,
quero mihi similes,
et adiungor pravis.
I drift along
like a pilotless ship
or like an aimless bird.
Carried at random through the air
no chains hold me captive,
no lock holds me fast,
I am looking for those like me
and I join the depraved.
Mihi cordis gravitas
res videtur gravis;
iocus est amabilis
dulciorque favis;
quicquid Venus imperat,
labor est suavis,
que nunquam in cordibus
habitat ignavis.
The burdens of the heart
seem to weigh me down;
jesting is pleasant
and sweeter than the honeycomb.
Whatever Venus commands
is pleasant toil
she never dwells
in craven hearts.
Via lata gradior
more iuventutis,
inplicor et vitiis
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
On the broad path I wend my way
as is youth’s wont,
I am caught up in vice
and forgetful of virtue,
caring more for voluptuous pleasure
than for my health,
dead in spirit,
I think only of my skin.
12. Tenor
Olim lacus colueram,
olim pulcher extiteram
dum cignus ego fueram.
12. Tenor
Once in lakes I made my home
once I dwelt in beauty
that was when I was a swan.
Male Chorus
Miser, miser!
Modo niger et ustus fortiter!
Male Chorus
Alas, poor me!
Now I am black and roasted to a turn!
Please turn the page quietly.
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38
Tenor
Girat, regirat garcifer;
me rogus urit fortiter:
propinat me nunc dapifer.
Tenor
On the spit I turn and turn;
the fire roasts me through
now I am presented at the feast.
Male Chorus
Miser, miser!
Modo niger et ustus fortiter!
Male Chorus
Alas poor me!
Now I am black and roasted to a turn!
Tenor
Nunc in scutella iaceo,
et volitare nequeo,
dentes frendentes video:
Tenor
Now in a serving dish I lie
and can no longer fly,
gnashing teeth confront me.
Male Chorus
Miser, miser!
Modo niger et ustus fortiter!
Male Chorus
Alas poor me!
Now I am black and roasted to a turn!
13. Baritone
Ego sum abbas Cucaniensis
et consilium meum est cum bibulis,
et in secta Decii voluntas mea’st
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:
13. Baritone
I am the abbot of Cucany
and I like to drink with my friends.
I belong from choice to the sect of Decius,
and whoever meets me in the morning at the tavern
by evening has lost his clothes,
and thus stripped of his clothes cries out:
Baritone and Male Chorus
Wafna! Wafna!
Quid fecisti sors turpissima?
Nostre vite gaudia
abstulisti omnia!
Baritone and Male Chorus
Wafna! Wafna!
What has thou done, oh wicked fate?
All the pleasures of this life
thus to take away!
14. Male Chorus
In taberna quando sumus,
non curamus quid sit humus,
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna,
ubi nummus est pincerna,
hoc est opus ut queratur,
sic quid loquar, audiatur.
14. Male Chorus
When we are in the tavern
we spare no thought for the grave
but rush to the gaming tables
where we always sweat and strain.
What goes on in the tavern
where a coin gets you a drink
if this is what you would know
then listen to what I say.
Quidam ludunt, quidam bibunt,
quidam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur,
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus ti met mortem,
sed pro Baccho mittunt sortem:
Some men gamble, some men drink
some indulge in indiscretions,
but of those who stay to gamble
some lose their clothes,
some win new clothes,
while others put on sack cloth,
there no one is afraid of death
but for Bacchus plays at games of chance.
Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis,
post hec bibunt ter pro vivis,
quater pro Christianis cunctis,
quinquies pro fidelibus defunctis,
sexies pro sororibus vanis,
septies pro militibus silvanis.
First the dice are thrown for wine:
this the libertines drink.
Once they drink to prisoners,
then three times to the living,
four times to all Christians,
five to the faithful departed,
six times to the dissolute sisters,
seven to the bush-rangers.
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38A
Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus,
undecies pro discordantibus,
duodecies pro penitentibus
tredecies pro iter agentibus.
Tam pro papa quam pro rege
bibunt omnes sine lege.
Eight times to delinquent brothers,
nine to the dispersed monks,
ten times to the navigators,
eleven to those at war,
twelve to the penitent,
thirteen to travelers.
They drink to the pope and king alike,
all drink without restraint.
Bibit hera, bibit herus,
bibit miles, bibit clerus,
bibit ille, bibit illa,
bibit servis cum ancilla,
bibit velox, bibit piger,
bibit albus, bibit niger,
bibit constans, bibit vagus,
bibit rudis, bibit magnus.
The mistress drinks, the master drinks,
the soldier drinks, the man of God,
this man drinks, this woman drinks,
the manservant drinks with the serving maid,
the quick man drinks, the sluggard drinks,
the white man and the black man drink,
the steady man drinks, the wanderer drinks,
the simpleton drinks, the wiseman drinks.
Bibit pauper et egrotus,
bibit exul et ignotus,
bibit puer, bibit canus
bibit presul et decanus,
bibit soror, bibit frater,
bibit anus, bibit mater,
bibit iste, bibit ille,
bibunt centum, bibunt mille.
The poor man drinks, the sick man drinks,
the exile drinks and the unknown,
the boy drinks, the old man drinks,
the bishop drinks and the deacon,
sister drinks and brother drinks,
the old crone drinks, the mother drinks,
this one drinks, that one drinks,
a hundred drink, a thousand drink.
Parum sexcente nummate
durant, cum immoderate
bibunt omnes sine meta,
quamvis bibant mente leta;
sic nos rodunt omnes gentes,
et sic erimus egentes.
Qui nos rodunt confundantur
et cum iustis non scribantur.
Six hundred coins are not enough
when all these drink too much.
And without restraint
although they drink cheerfully.
Many people censure us
and we shall always be short of money,
may our critics be confounded
and never be numbered among the just.
III. COUR D’AMOURS
III. THE COURTS OF LOVE
15. Boys Chorus
Amor volat undique; captus est libidine.
Juvenes, iuvencule coniunguntur merito.
15. Boys Chorus
Love flies everywhere and is seized by desire,
young men and women are matched together.
Soprano
Siqua sine socio, caret omni gaudio;
tenet noctis infima
sub intimo cordis in custodia:
Soprano
If a girl lacks a partner she misses all the fun;
in the depths of her heart
all alone is darkest night;
Boys Chorus
fit res amarissima.
Boys Chorus
it is a bitter fate.
16. Baritone
Dies, nox et omnia
michi sunt contraria,
virginum colloquia
me fay planszer
oy suvenz suspirer,
plu me fay temer.
16. Baritone
Day, night, and all the world
are against me,
the sound of maidens’ voices
makes me weep.
I often hear sighing
and it makes me more afraid.
Please turn the page quietly.
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38B
O sodales, ludite,
vos qui scitis dicite,
michi mesto parcite,
grand ey dolur,
attamen consulite
per voster honur.
O friends, be merry,
say what you will,
but have mercy on me, a sad man,
for great is my sorrow,
yet give me counsel
for the sake of your honor.
Tua pulchra facies,
me fay planszer milies,
pectus habet glacies,
a remender
statim vivus fierem
per un baser.
Your lovely face
makes me weep a thousand tears
because your heart is of ice,
but I would be restored
at once to life
by one single kiss.
17. Soprano
Stetit puella rufa tunica;
si quis eam tetigit,
tunica crepuit. Eia.
17. Soprano
There stood a young girl in a red tunic;
if anyone touched her
the tunic rustled. Heigh-ho.
Stetit puella tamquam rosula;
facie splenduit,
os eius floruit. Eia.
There stood a girl fair as a rose,
her face was radiant,
her mouth like a flower. Heigh-ho.
18. Baritone and Chorus
Circa mea pectora multa sunt suspiria
de tua pulchritudine,
que me ledunt misere.
Manda liet, manda liet,
min geselle chomet niet!
Tui lucent oculi sicut solis radii,
sicut splendor fulguris
lucem donat tenebris.
Manda liet, manda liet,
min geselle chumet niet.
Vellet deus, vellent dii,
quod mente proposui:
ut eius virginea reserassem vincula.
Manda liet, manda liet,
min geselle chumet niet.
18. Baritone and Chorus
My breast is filled with sighing
for your loveliness
and I suffer grievously.
Manda liet, manda liet,
my sweetheart comes not.
Your eyes shine like sunlight,
like the splendor of lightning
in the night.
Manda liet, manda liet,
my sweetheart comes not.
May God grant, may the Gods permit
the plan I have in mind
to undo the bonds of her virginity.
Manda liet, manda liet,
my sweetheart comes not.
19. Male Chorus
Si puer cum puellula
moraretur in cellula,
felix coniunctio.
Amore suscrescente,
pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.
19. Male Chorus
If a boy and a girl
linger together,
happy is their union;
increasing love
leaves tedious good sense
far behind,
and inexpressible pleasure fills
their limbs, their arms, their lips.
20. Double Chorus
Veni, veni, venias, ne me mori facias,
hyrca, hyrca, nazaza, trillirivos!
20. Double Chorus
Come, come pray come, do not let me die,
hyrca, hyrca, nazaza, trillirivos!
Pulchra tibi facies, oculorum acies,
capillorum series, o quam clara species!
Lovely is your face, the glance of your eyes,
the braids of your hair, oh how beautiful you are!
Rosa rubicundior, lilio candidior,
omnibus formosior, semper in te glorior!
Redder than the rose, whiter than the lily,
comelier than all the rest; always I shall glory in you.
Book 25.indd 22
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38C
21. Soprano
In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.
21. Soprano
In the scales
of my wavering indecision
physical love and chastity are weighted.
But I choose what I see.
I bow my head in submission
and take on the yoke which is after all sweet.
22. Chorus
Tempus es iocundum, o virgines,
modo congaudete vos iuvenes.
22. Chorus
Pleasant is the season O maidens,
now rejoice together young men.
Baritone
Oh—oh, totus floreo!
Iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
Baritone
Oh, oh, I blossom
now with pure love I am on fire!
This love is new, is new, of which I perish.
Female Chorus
Mea me confortat promissio,
mea me deportat negatio.
Female Chorus
My love brings me comfort, when she promises,
but makes me distraught with her refusal.
Soprano and Boys Chorus
Oh—oh totus floreo,
iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
Soprano and Boys Chorus
Oh, oh I blossom,
now with pure young love I am on fire!
This love is new, is new, of which I perish.
Male Chorus
Tempore brumali vir patiens,
animo vernali lasciviens.
Male Chorus
In winter time the man is lazy
in spring he will become merry.
Baritone
Oh—oh, totus floreo,
iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
Baritone
Oh, oh, I blossom,
now with pure young love I am on fire!
This love is new, is new, of which I perish.
Female Chorus
Mea mecum ludit virginitas,
mea me detrudit simplicitas.
Female Chorus
My chastity teases me
but my innocence holds me back.
Soprano and Boys Chorus
Oh—oh, totus floreo,
iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
Soprano and Boys Chorus
Oh, oh, I blossom,
now with pure young love I am on fire!
This love is new, is new, of which I perish.
Chorus
Veni, domicella, cum gaudio,
veni, veni, pulchra, iam pereo.
Chorus
Come my darling, come with joy,
come my beauty, for already I die!
Baritone, Boys Chorus, and Chorus
Oh—oh, totus floreo,
iam amore virginali totus ardeo,
novus, novus amor est, quo pereo.
Baritone, Boys Chorus, and Chorus
Oh, oh, I blossom,
now with pure young love I am on fire!
This love is new, is new, of which I perish.
23. Soprano
Dulcissime, totam tibi subdo me!
23. Soprano
Sweetest boy I give my all to you!
Please turn the page quietly.
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38D
BLANZIFLOR ET HELENA
BLANZIFLOR AND HELENA
24. Chorus
Ave formosissima,
gemma pretiosa,
ave decus virginum,
virgo gloriosa,
ave mundi luminar
ave mundi rosa,
Blanziflor et Helena,
Venus generosa.
24. Chorus
Hail to thee most love
most precious jewel,
hail pride of virgins!
Most glorious virgin!
Hail light of the world!
Hail rose of the world!
Blanziflor and Helena!
Noble Venus, Hail.
FORTUNA IMPERATRIX MUNDI
FORTUNE EMPRESS OF THE WORLD
25. Chorus
O Fortuna, velut Luna
statu variabilis,
semper crescis aut decrescis;
vita detestabilis
nunc obdurat et tunc curat
ludo mentis aciem,
egestatem, potestatem
dissolvit ut glaciem.
25. Chorus
O Fortune! Like the moon
everchanging
rising first then declining;
hateful life
treats us badly then with kindness
making sport with our desires,
causing power and poverty alike
to melt like ice.
Sors immanis et inanis,
rota tu volubilis,
status malus, vana salus
semper dissolubilis,
obumbrata et velata
michi quoque niteris;
nunc per ludum dorsum nudum
fero tui sceleris.
Dread destiny and empty fate,
an ever-turning wheel,
who make adversity and fickle health
alike turn to nothing,
in the dark and secretly
you work against me;
how through trickery my naked back
is turned to you unarmed.
Sors salutis et virtutis
michi nunc contraria
est affectus et defectus
semper in angaria.
Hac in hora sine mora
corde pulsum tangite;
quod per sortem sternit fortem,
mecum omnes plangite!
Good fortune and strength
now are turned from me.
Affection and defeat
are always on duty.
Come now, pluck the strings
without delay;
and since by fate the strong are overthrown
weep ye all with me.
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