Orbe Rotundo - sister work to Orff`s Carmina Burana

ORBE ROTUNDO
Musical Images on the Cycle of the Seasons
for 3 vocal soloists, choir & orchestra
Enjott Schneider
COMPOSER
“It will probably be only a matter of time until the first directors explore the new but at the
same time old duo (Carmina Burana & Orbe Rotundo) for a staged performance.”
NEUE MUSIKZEITUNG on the premiere on 5th Dec. 2010
“The premiere (…) proved the great virtuosity with which Schneider composed, using
Orff’s instrumentation.”
SUEDDEUTSCHE ZEITUNG, Munich
Dr. Andreas Janotta ARTS MANAGEMENT
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ENJOTT SCHNEIDER
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Enjott Schneider
ORBE ROTUNDO
Musical Images on the Cycle of the Seasons
(for 3 vocal soloists, choir & orchestra)
Extracts
1 Orbe rotundo I
1:38
2 Ateh
1:21
3 Nostro contio
1:40
4 Iam vernali tempore 1:14
5 Ostera I
1:37
6 Hexensabbat
2:23
7 Maienzeit
0:51
8 Jensel & Gretel
1:35
9 Johannisnacht
2:12
10 Deus Magnificatus 1:27
11 Erntetanz
1:08
12 Trinklied
0:48
13 Luenzlot & Jubilo 1:26
14 Hiemis
2:14
15 Ostera II
2:02
16 Orbe rotundo II
0:58
www.enjott.com
DEMO CD (not for sale)
Premiere
5th Dec. 2010
Munich
Musicians
Sandra Moon (soprano)
Robert Sellier (tenor)
Todd Boyce (baritone)
Munich Motet Choir
Moravian Philharmonic Orchestra
Direction: Hayko Siemens
Contact: Dr. Andreas Janotta ARTS MANAGEMENT — Hans-Sachs-Strasse 20 — 80469 Munich — Germany
phone +49-89-26019536 — mobile +49-179-5173882 — fax +49-89-26019542 — www.andreasjanotta.com — [email protected]
2
ENJOTT SCHNEIDER
Orbe Rotundo
Songs of Life, Magic and Death (2010)
Musical images on the cycle of the seasons
after
f
L i and
Latin
d medieval
di
l texts
Instrumentation
Soprano, tenor, baritone, choir (large choir, small choir)
Orchestra: 3 flutes (2 doubling on piccolo), 2 oboes,
1 cor anglais, 2 clarinets (B), 1 bass clarinet, 2 bassoons,
1 contrabassoon, 4 horns (F), 3 trumpets (B),
3 trombones (T T B), 1 tuba, 4 timpani, percussion 1-5,
1 celeste, 2 pianos,
l
large
string
t i orchestra
h t (vl.
( l 1+2
1 2 / vla.
l / vc. / db.)
db )
(reduced version for 2 pianos & percussion in preparation)
Sequence of scenes
Scene I:
Orbe rotundo
1
In orbe rotundo (large choir)
2
Ateh (large choir)
Scene II:
Ostera (prima pars)
3
Ergo nostro contio
(soprano solo, choir of girls and women)
4
Iam vernali tempore (small choir)
5
Ostera (soloists, large choir)
Scene III:
Walpurgisnacht
6
Hexensabbat (large choir)
Scene IV: Maienliebe
7
(all)
8
JenseI und Gretel
(soprano solo, tenor solo, choir)
Commissioned work
Scene V:
Dedicated in friendship to Hayko Siemens
Mittsommer ‒ Johannistag
9
(soprano solo, baritone solo, large choir)
Scene VI: Autumnus
10
Deus magnificatus
(soprano solo, tenor solo, choir)
11
Erntetanz (male choir)
12
Trinklied (baritone solo, choir)
13
O et o cum jubilo (choir)
Scene VII: Hiemis
14
Memento mori
(soprano solo, tenor solo, large choir)
Scene VIII: Ostera (secunda pars)
15
Primavera (all)
Scene IX: Orbe rotundo
16
Finale (large choir)
for the 50th anniversary of the
Munich Motet Choir (Muenchner MotettenChor)
Premiere
5th Dec. 2010, Herkules Hall, Residence, Munich
Musicians
Sandra Moon (soprano),
Robert Sellier (tenor)
Todd Boyce (baritone)
Munich Motet Choir
Moravian Philharmonic Orchestra
Direction: Hayko Siemens
Total duration: approx. 50 minutes
Score published by Schott Music International
3
Enjott Schneider on ORBE ROTUNDO – Idea and Creation
“When Hayko Siemens asked me in 2009 if I
would write a ‘sister work’ to accompany Carl
O ff' Carmina
Orff's
C
i
B
Burana,
h ran through
he
th
h an
already widely opened doorway: As a great Orff
admirer, I had a bundle of texts, not yet set to
music, of the “Carmina Burana” collection
lying around (thematically assembled by the
musicologist and composer, Dr. Dorothea
Hofmann) and sought an opportunity and an
ensemble to bring this exciting project to life ‒
which Dr. Peter Hanser-Strecker, CEO of Schott
Music Mainz, repeatedly suggested to me.
During the subsequent struggle for a coherent
textbook, several aspects were decisive: on the
one hand, Hayko Siemens wished for a libretto
that was crudely medieval and aboundingly
frivolous, full of vitality and a zest for life, and
on the other hand certain contents of Orff‘s
Carmina Burana had to be singled out, so that
th implementation
the
i l
t ti off both
b th works
k on one stage
t
would not result in a duplicate and a too
uniform appearance of both pieces. In
broadening the spectrum of the texts with lyrics
by Oswald von Wolkenstein and Neidhart von
Reuenthal, biblical texts (the Latin Vulgate),
grave inscriptions and magic spells, the 50minute ORBE ROTUNDO ‒ SONGS OF LIFE,
MAGIC AND DEATH for soprano, tenor,
baritone, mixed choir and orchestra came to
life. Musical images on the cycle of the seasons
– with an identical setting to Carl Orff’s: triple
wind section, two pianos, celeste, five
percussionists and a large string ensemble.”
Premieres 2011
20th Jan. 2011: Organ Symphony No. 10 B-A-C-H
Organ Festival, Porto Cathedral (Hansjörg Albrecht)
25th Apr. 2011: Easter Oratorio RESURREXIT ET ASCENDIT
St. Pantaleon, Cologne (Figural Choir Cologne, dir. R. Mailaender)
26th Apr. 2011: Cello Concerto TURUL, Cello Academy Rutesheim (Laszlo Fenyö,
Fenyö Wuerttemberg Philh.
Philh Orch.,
Orch dir.
dir Christoph Adt)
13th May 2011: Organ Symphony No. 13 LUNA
Cathedral of Monastery Schweikelberg (Stefan Baier)
31st May 2011: Extended Organ Concerto No. 2 HIOB
(Johannes Skudlik, Munich Symphony Orch., dir. Hansjörg Albrecht)
13th June 2011: Cor Anglais Concerto EIN EWIG RAETSEL
Neuschwanstein Castle, Singer’s hall (Christoph Hartmann, Ensemble
of the Berlin Philharmonic Orchestra)
10th July 2011: Peace Symphony SALAAM for vocal soloists,
g
g Philharmonic Orch.,, dir. Dirk Kaftan))
choir,, orchestra ((Augsburg
23rd July 2011: Recorder Concerto OMMAGGIO A VIVALDI
Liebenberg Music Summer (Stefan Temmingh, Ensemble Ponticello,
direction Wolfgang Behrend)
Dec. 2011: Organ Symphony No. 11 ADVENT
Frauenkirche, Munich (Hans Leitner)
4
NOTES ON ORBE ROTUNDO
ORBE ROTUNDO – The World is Round
„ORBE ROTUNDO – The World is Round” uses the same
orchestration as Carl Orff’s Carmina Burana and, as a set
of ‘musical images on the cycle of the seasons after Latin
and medieval texts
texts’,, could be staged together with Orff
Orff’ss
work as a full-length music theatre production. The
libretto deals with a diversified spectrum of “Life, Magic
and Death” and dramatically presents texts from
“Carmina Burana” as well as medieval and biblical texts.
After springtime, a magical Walpurgis Night, the month
of May and a fire-glorifying Midsummer’s Day, autumn
celebrates The Creation and the enjoyment of drinking
and then winter reduces itself to requiem and death –
only
l to
t celebrate
l b t the
th intoxication
i t i ti
off springtime
i ti
once
again. Emotional archaism combines with modern style
elements, the work has a rhythmical vitality and is
danceable, and the orchestration is colourful and
complex.
Staging
As the subtitle “Musical
Musical Images
Images” suggests,
suggests ORBE ROTUNDO was explicitly designed as a potential ‘sister
sister
work’ to Carl Orff’s Carmina Burana also to be implemented on a music theatre stage. Enjott Schneider
focused in particular on the continuation and deepening of the content matter which goes beyond the
similarities to Carl Orff’s work, the identical orchestration or the “Carmina Burana” texts:
Whereas the staging of Orff's Carmina Burana is defined by peasant love and life, drinking and enjoyment
of life and courtly love, ORBE ROTUNDO provides the added aspect of the cycle of the seasons, starting
with spring (Ostera I), summer, autumn, winter and a final revival of spring (Ostera II). In Schneider’s
cycle, magical and ritual themes, which touch on the darkest side of human existence like death,
witches’ sabbath, satanic cult and fire worship on Midsummer’s Eve, have been incorporated. Right at the
beginning of the first scene,
scene the fifth Angel of the Apocalypse comes alive next to the “Orbe
Orbe Rotundo
Rotundo”
(“The world is round ... Everything is turning around”): it is the angel of the abyss of hell where the
locusts reside (the reference to the modern financial ‘locusts’ is absolutely necessary), and is revered by
the dancing masses of the choir as “Abaddon”.
Stage directions are given several times: In the Hebrew text “Ateh, Malkut” (No. 2) the exact hand and
body movements of kabbalistic rituals are described. In No. 6, Walpurgis Night, the witches dance and
“kiss Satan's bottom” (reported through the ages in witches’ protocols), while the Lord’s Prayer in Latin is
said backwards. Also, No. 11, “Dance of the Harvest”, with its convulsive music, provides stage directions
based on the medieval harvest symbolism.
In some ‒ mainly instrumental ‒ moments, Enjott Schneider brings those vivid qualities of his music,
which he has demonstrated in his film scores, to the fore. These musical moments bring evocative images
to one’s head, following the course of the action, even with a staging that isn’t too elaborate.
5
CURRICULUM VITAE
Enjott Schneider
“(...) Schneider knows how to link his music with
accompanying dramaturgical and visual events,
how to create a special ambience and how to
utilise instrumental characteristics effectively. “
Gerhard Rohde, Frankfurter Allgemeine Zeitung
“Technically, Schneider is without a doubt one of
the most skilled contemporary composers. He is
able to pull out all the stops for a direct and
precise effect, knows how to shape the orchestral
sound accurately and engages with the psychology
of listening.”
Reinhard Schulz, Sueddeutsche Zeitung
A central theme in his music is the striving for a
type of ‘language’ or ‘the spoken’ through music.
To Enjott Schneider, composition means the
shaping of musical
m sical materials as defined by
b a
concise semantic content, a balance between
construction and expression. In his compositions,
therefore, cross references are often made to his
own film music and to music history.
Enjott Schneider (*1950) studied music, German
philology, musicology (Dr. phil. 1977) and School
and Church Music in Freiburg im Breisgau. From
g
and choirmaster in
1970 to 1982 he was organist
Huninque/France and in Hinterzarten/Germany.
Since 1979 he has been teaching at the Munich
College of Music, initially as professor of music
theory and the composition of church music and
since 1996, professor of film composition. Since
2003, Enjott Schneider has been a member on the
board of directors of GEMA (German association
for musical performance and copyright laws).
Alongside his writing activities (e.g.
(e g “Time“Time
Rhythm-Number” 1991/2003 and „Composition for
Film and TV“ 1997, as well as many articles on
contemporary music) Enjott Schneider is an
accomplished composer. Besides seven full-length
operas such as “The Salome Principle”,
6
“Signalman Thiel” and “Prince Pueckler”, he has
composed numerous works for orchestra and
chamber ensemble. A further focus lies in sacred
m sic with
music
ith oratorios,
oratorios organ concertos and organ
symphonies. His stage works and orchestral music
are published by Schott Music (www.schottmusic.com).
He has composed the soundtracks to about 500
films (e.g. the soundtracks to “Brother of Sleep”,
“23”, “Herbstmilch”, “Stalingrad”, “Schwabenkinder”,
“Armageddon” and “Stauffenberg”.
j
Schneider received the Emmyy Award ((New
Enjott
York) for the best documentary 2005 “Drama of
Dresden” (broadview-TV Cologne), the Bavarian
Film Prize for the music to “Rama Dama” (Joseph
Vilsmaier), the ‘Bundesfilmband’ in gold for the
soundtrack to “Quiet Shadows” (Sherry Horman)
and “Wild Fire” (Jo Baier), the Fipa d’or (Biarritz)
2001 for the “Best European Film Music” to
“Jahrestage” (Margarethe von Trotta) as well as
the German Television Prize 2007 “Best Film
Music” for “Not all were Murderers” (Jo Baier)
and “The Expulsion” (Kai Wessel).
Details regarding Enjott Schneider’s catalogue of
works, concert calender, discography and
bibliography can be found at www.enjott.com.
LIBRETTO
No. 1: IN ORBE ROTUNDO ‒ Large choir
(extracts)
In orbe rotundo, in orbe rotundo
Numquam erit habilis
qui non sit instabilis
et corde iocundo
g mundo
non sit vagus
et recurrat
et transcurrat
et discurrat
in orbe rotundo
On the round earth, on the round earth
is a righteous man
who does not stay unmoved
and with a joyful heart
wanders through
g the world
and returns again
and runs past
and runs about
on the round earth
(from: Carmina Burana)
Et quintus angelus tuba cecinit
et vidi stellam de caelo cecidisse in terram
et data est illi clavis putei abyssi
p
puteum abyss
p
y
et aperuit
et de fumo exierunt lucustae in terram
et habebant super se regem angelum abyssi
cui nomen Abaddon
The fifth angel sounded his trumpet:
and I saw a star that had fallen from the sky to the earth
the star was given the key to the shaft of the Abyss
and he opened
p
the Abyss,
y
and out of the smoke locusts came down upon the earth
They had as king over them the angel of the Abyss,
whose name is Abaddon.
(Revelation, Chapter 9)
No. 5: OSTERA ‒ Large choir and soloists
Ostera, Ostera, Ostera
floret tellus floribus,
variis coloribus
Ostera,, Ostera,, Ostera
faveant amoribus
iuvenes cum moribus
Ostera, Ostera, Ostera
novo flore faciem
flora renovatur.
Ostera, Ostera, Ostera
Ostera, Ostera, Ostera
the earth blooms with flowers
in all sorts of colours.
Ostera,, Ostera,, Ostera
and at once fall in love
the youths with temperament.
Ostera, Ostera, Ostera
everything blooms anew,
the flora is renewed.
Ostera, Ostera, Ostera
No. 6: HEXENSABBAT ‒ Large choir and solo baritone
Amara tanta tyri / pastos sycalos sycaliri
Ellivolo scarra / polili posylique lyvarras
(untranslated devil’s spell
from Carmina Burana)
(after bowing repeatedly in all directions a ritual takes place by repeating the following):
All women: Satanas, Sanatas / Satanas, Sanatas / Erce, Erce, Erce
All men: Maleficia, Hagazussa: Amara tanta tyri
All women: (mostly gathered in groups, calling out their favourite foods)
Meat of the hanged / black millet bread / powder of burned crosses, stolen by the roadside, and children's bones
ground on Holy Thursday’/ black goat’s urine, a delicious wine
Solo baritone (q
(quasi Satanas):
)
11. Mulier ebriosa ira magna et contumelia
et turpitudo illius non contegetur
12. Fornicatio mulieris in extollentia
oculorum et in palpebris illius agnoscetur
A drunken woman is a great wrath
and her reproach and shame shall not be hid
The fornication of a woman shall be known
by the haughtiness of her eyes and by her eyelids
Ecclesiasticus, Chapter. 26/11+12
7
SCORE EXCERPTS
8
No. 1 Orbe rotundo
9
SCORE EXCERPTS
10
No. 1 Orbe rotundo
(
(contd.)
)
11
www.enjott.com
www.andreasjanotta.com/enjott
Contact:
Dr. Andreas Janotta ARTS MANAGEMENT
Hans-Sachs-Strasse 20 — 80469 Munich — Germany — www.andreasjanotta.com
phone +49-89-26019536 — mobile +49-179-5173882 — fax +49-89-26019542 — [email protected]
Photography © Thomas Rosenthal, Rudolf Finkes, Ursus Samaga