ORFF KARL
Επιλογή έργων
από μέλη της ομάδας
"Ακούτε Κλασική Μουσική; Εγώ ακούω."
*Christos Sipsis
Orff conducts Carmina Burana
«Триумф Афродиты». Carl Orff Trionfo di Afrodite
Trionfo di Afrodite - Wikipedia, the free encyclopedia
Trionfo di Afrodite (Italian, literally Triumph of Aphrodite) is a cantata called "concerto scenico" (scenic concert) written in 1951 by the German composer Carl Orff. It is part of Trionfi, the musical triptych that also includes Carmina Burana and Catulli Carmina. In this case, "Trionfo" refers to the Roman and Renaissance trionfo, meaning "procession" or "festival".
Like Igor Stravinsky's Les Noces, Trionfo di Afrodite describes rituals for a (in this case Greek-Roman) wedding. The texts are based on Latin wedding poems by Catullus, as well as Greek poems by Sappho and a small part by Euripides. Despite the large orchestra, the instrumentation is often sparse, especially in the Greek verses, and the music is strongly influenced by the rhythms and melodies of the spoken word [1], though little importance is actually given to both tonic and prosodic accent. The piece closes with a triumphant apparition of Aphrodite herself, a rare instance when the full choral and orchestral forces are actually used.
Apart from the orchestra, the piece calls for five soloists (SSTTB) and a large mixed chorus.
Carl Orff: Trionfo di Afrodite
Trionfo di Afrodite – Concerto scenico (1953)
»As always, my musical diction blossomed out of words.«[1]
In the ›Trionfo di Afrodite‹, Orff combined Ancient Greek poetry with verses in Latin for the first time. Texts from Catullus’ Wedding Poems provide the underlying structure into which fragments from Sappho are inserted in the manner of inlays.
Inspired by the vocal richness of the Greek language, a new melian style with increased expressivity is created. Against the extremely sparse instrumentation, the vocal parts articulate the tonal particles of the language.
In contrast, the Latin texts are set to primarily structured tonal blocks over held notes or rhythmical ostinati. These are a clear indication that Orff has in this work freed himself decisively from the tonic-dominant system and avoids all harmonic foundations; there is no particular diatonic key within the work. This is also the last of Orff’s works to utilise a complete string section.
[2] Werner Thomas in: Pipers Enzyklopädie des Musiktheaters, Band 4, München 1991, S.581 ff.
*Chris Panagopoulos
Hidden treasures - Carl Orff - Carmina Burana (1937) - "Omnia sol temperat" (Fischer-Dieskau)
Complete Recording of Orff's "De Temporum Fine Comoedia" (Karajan)
*Babis Kanas
Der Mond - Carl Orff - Teil 1
Der Mond - Carl Orff - Teil 2
Der Mond - Carl Orff - Teil 3
Der Mond - Carl Orff - Teil 4
Der Mond - Carl Orff - Teil 5
Der Mond - Carl Orff - Teil 6
Der Mond - Carl Orff - Teil 7
At about the same time that he premiered his most famous composition, Carmina Burana, Carl Orff was writing Der Mond, a one-act opera based on a traditional tale collected by the Grimm Brothers. The first scene is virtually a word-for-word setting of the opening of the Grimms' tale, including sung narration. It takes place in a time when the Moon was unknown; anyone who went out at night without their own lantern would have to feel their way around or run into things. Just after nightfall, four fellows from one town have traveled to a neighboring town. They see a strange light shining from the branches of a large oak tree. Like almost everyone else in the story, upon spying it they ask "What is that light, " and are told that it is "The Moon." Many years ago the man who is now the village mayor brought it home with him, having purchased it elsewhere. Now, he has put it in the tree, and regularly tops it off with oil for a nice weekly stipend. The four travelers steal The Moon and take it home. The villagers discover that their town is now in darkness, and berate the mayor for letting it go out. But when he is hoisted up into the branches, he discovers to everyone's horror that it has been stolen At home the travelers show off their Moon, sing a song describing its virtues, and make a good life-time deal for themselves. Time passes to mysterious music. As each of the travelers ages and dies in his turn, his will demands that his quarter of the moon be cut off from the light and taken with him. After the fourth traveler expires, the town is again in nightly darkness.
Not so in the vast underground crypts of the Dead. Once all four quarters of the moon are reunited, its light wakes the dead. Once they understand their situation, they delightedly turn to whatever gave them pleasure in life: drinking, gambling, bowling, etc. The noise of their revelry is even heard in Heaven where St. Peter at first fears another revolt by the forces of the underground. He stills the awakened souls by throwing a comet at them, then investigates the disorder. Upon discovering the situation, he gently bids them back to their slumbers and takes the Moon, hanging it in the heavens for the good of all the living. At the end, a little child is seen looking upward. "Oh, look, the Moon is shining, " he says, the only character in the play who understands it at first sight.
*Sergios Malakates
ORFF Catulli Carmina.wmv
*Aglaia Raptou
Carl Orff - Gassenhauer
*Eva Gramm
"Stetit puella" (Carmina Burana n°1) Marlene Dietrich
Carmina Burana - Stetit Puella w/ Kathleen Battle
*Gianni Christopoulos
Carl Orff - Music for 1936 Olympics
*Tanja Pavlovic
O Fortuna (Carmina Burana) (Lyrics)
O Fortuna (O Fortune)
velut luna (like the moon)
statu variabilis (you are changeable)
semper crescis (ever waxing)
aut decrescis; (and waning;)
vita detestabilis (hateful life)
nunc obdurat (first oppresses)
et tunc curat (and then soothes)
ludo mentis aciem, (as fancy takes it)
egestatem, (poverty)
potestatem (and power) dissolvit ut glaciem. (it melts them like ice.)
Sors immanis (Fate - monstrous)
et inanis, (and empty)
rota tu volubilis, (you whirling wheel)
status malus, (you are malevolent)
vana salus (well-being is vain)
semper dissolubilis, (and always fades to nothing)
obumbrata (shadowed)
et velata (and veiled)
mihi quoque niteris; (you plague me too;)
nunc per ludum (now through the game)
dorsum nudum (I bring my bare back) fero tui sceleris. (to your villainy.)
Sors salutis (Fate is against me)
et virtutis (in health)
michi nunc contraria, (and virtue)
est affectus (driven on)
et defectus (and weighted down)
semper in angaria. (always enslaved.)
Hac in hora (So at this hour)
sine mora (without delay)
corde pulsum tangite; (pluck the vibrating strings;)
quod per sortem (since Fate)
sternit fortem, (strikes down the string) mecum omnes plangite! (everyone weep with me!)
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Κάρμινα Μπουράνα
Από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια
Από τη συλλογή "Κάρμινα Μπουράνα" του 11ου-13ου αιώνα. Κάρμινα Μπουράνα είναι ο τίτλος μιας χειρόγραφης συλλογής πάνω από 1000 ποιημάτων και τραγουδιών που γράφτηκαν στις αρχές του 13ου αιώνα. Η αυθεντική συλλογή βρίσκεται σήμερα στην Κρατική Βιβλιοθήκη της Βαυαρίας στο Μόναχο.
Τα χειρόγραφα
Ο λατινικός τίτλος Carmina Burana ή ο αγγλικός Songs of Beuern δόθηκε το 1847 από τον Johann Andreas Schmeller. Η λέξη Beuern, που προέρχεται από το αρχαίο γερμανικό bur ("μικρό σπίτι"), αναφέρεται στο χωριό Benediktbeuern, στους πρόποδες των Βαυαρικών Άλπεων, το οποίο και δανείζεται το όνομά του από το ομώνυμο Αβαείο που ιδρύθηκε στην περιοχή το 733. Από έρευνες ωστόσο προέκυψε ότι το χειρόγραφο δεν δημιουργήθηκε εκεί.
Τα κομμάτια είναι σχεδόν όλα γραμμένα στα Λατινικά, με κάποια να είναι γραμμένα σε μια διάλεκτο των Μεσαίων Γερμανικών και λίγα σε Αρχαία Γαλλικά: έχουμε να κάνουμε με "μακαρονικούς στίχους", μια μείξη Λατινικών, γερμανικών και γαλλικών με τη δημώδη γλώσσα της εποχής εκείνης. Γράφτηκαν από σπουδαστές και κληρικούς γύρω στο 1230, όταν τα λατινικά ήταν η κοινή γλώσσα (λίνγκουα φράνκα) σε όλη την Ιταλία και τη Δυτική Ευρώπη.
Τα περισσότερα ποιήματα και τραγούδια φαίνεται να αποτελούν δημιουργία των Γολιάρδων δόκιμων κληρικών, που διακωμωδούσαν και σατίριζαν την Ρωμαιοκαθολική Εκκλησία.
Κάρμινα Μπουράνα - Βικιπαίδεια
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