CARMINA BURANA

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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 Its easy to register for the 2011 ACDA National Conference. Register online at www.acda.org CHORAL JOURNAL Volume 51 Number 4 61
CARL ORFF'S <strong>CARMINA</strong> <strong>BURANA</strong> Shinyukai Choir is one of the farthest from Orff’s intentions according to the tempo study, it is still a thrilling recording. The tempos are very fast, yet do not seem rushed as they do in the Michael Tilson Thomas 62 CHORAL JOURNAL Volume 51 Number 4 recording with the Cleveland Orchestra. Ozawa also employs a Germanic pronunciation of the Latin text, which comes across quite clearly. The three soloists (Edita Gruberova, John Aler, and Thomas Hampson) give striking performances. John Aler, in particular, also heard on the Leonard Slatkin recording, gives a magnifi cent performance of the “roasting swan.” Leonard Slatkin’s 1994 recording with the Saint Louis Symphony Orchestra and Chorus is an excellent source for pronunciation. Slatkin employs both the Germanic-Latin and medieval Middle High German pronunciations. In this recording, the soloists seem to be placed at the fore. The recording quality is superb. Unlike many recordings of Carmina Burana, the sound levels remain consistent. The 1995 Gaetano Delogu live recording with the Prague Symphony Orchestra and the Kühn Mixed Choir exemplifi es much of the diction suggested by Copeman and Riggs. However, the chorus lacks the stunning rhythmic alacrity and unstinting energy that make others in the study so exciting and memorable. It is also interesting to note that the CD cover has a picture of a performance with various actors and actresses in medieval costume in front of a chorus dressed in monk habits. This picture may inspire some scenic interpretation. Although the recording technology used in Fritz Mahler’s 1957 recording with the Hartford Symphony Orchestra and Chorus seems archaic compared to today’s standards, it is worth listening to for Mahler’s tempos and interpretations. This is the fi rst commercial recording of Carmina Burana and Carl Orff was present at the rehearsals and performances.
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CARMINA BURANA

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