CARMINA BURANA

tension, making this decision questionable. In
addition, Stentato means “with diffi culty.” It is
an expression mark often used by Verdi in
vocal lines at moments of extreme anguish.
In 1703, Sébastien de Brossard wrote it
meant one should sing as though one were
suffering. 23 Orff not only indicates Stentato
but also molto and subito. Something must
be done, and immediately! Placing a grand
pause prior to this indication does not seem
to suit Orff’s marking.
Summary
Many conductors use commercial recordings
as a resource at some point in their score
preparation. Most of them agree that the
most effective way of listening is to select a
number of divergent recordings to gain different
insights on interpretation. Although
this study found the Eugen Jochum recording
to be closest to Orff’s markings, many
of the recordings in the study are valuable
resources in gaining knowledge of Orff’s
desired interpretation.
The 1980 recording of Robert Shaw
conducting the Atlanta Symphony Orchestra
and Chorus is a strong performance of the
work. The chorus is truly presented as the
centerpiece of the work, as Orff intended.
Håkan Hågagard delivers
a convincing performance
of the baritone solos, particularly
in the Circa mea
pectoras. Judith Blegen gives
the strongest solo performance,
and, perhaps, is the
finest soprano soloist in
all the studied recordings.
Shaw also demonstrates his
understanding of the scenic
structure by not only clearly
observing attacca markings,
but also inserting tracks on
the CD by scene rather than
movement. In the slower
movements Shaw creates
a beautiful, graceful sound
in the chorus. However,
the carnal power and drive
expected in movements
such as Were diu welt alle
min and In taberna quando
sumus seems absent. Shaw’s
interpretation also falls short
in this study: he uses liturgical
Latin and modern German
diction rather than the more
appropriate medieval forms.
Even though Seiji Ozawa’s 1988 recording
with the Berliner Philharmoniker and the
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CHORAL JOURNAL Volume 51 Number 4 61