CARMINA BURANA
CARMINA BURANA
CARMINA BURANA
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Orff<br />
Tilson Thomas<br />
De Burgos<br />
Ozawa<br />
Jochum<br />
Mahler<br />
Sawallisch<br />
Slatkin<br />
Thiellemann<br />
Movement<br />
1<br />
O fortuna<br />
mm 1-4<br />
𝅝 = 60<br />
𝅝 = 57<br />
𝅝 = 52<br />
𝅝 = 72<br />
𝅝 = 60<br />
𝅝 = 60<br />
𝅝 = 61<br />
𝅝 = 57<br />
𝅝 = 53<br />
faster than any other recording. In contrast,<br />
the recording with the overall slowest<br />
tempos was the Rafael Frübeck de Burgos<br />
recording, with the New Philharmonia<br />
Orchestra. Eighteen of the selected timed<br />
sections were slower than any other recording<br />
(see table 1 for specifi c tempo timings).<br />
When the recordings were compared<br />
by their dates of performance, no noticeable<br />
trend or tendency was found. Neither<br />
was there anything of signifi cance found<br />
when the gathered data were compared by<br />
nationality of the conductor.<br />
Text Pronunciation<br />
One of the greatest concerns in Orff’s<br />
Carmina Burana should be how to approach<br />
the obscure text. Should the Latin be pro-<br />
Movement<br />
11<br />
Estuans<br />
Interius<br />
𝅘𝅥𝅮 = 152<br />
𝅘𝅥𝅮 = 157<br />
𝅘𝅥𝅮 = 158<br />
𝅘𝅥𝅮 = 162<br />
𝅘𝅥𝅮 = 170<br />
𝅘𝅥𝅮 = 154<br />
𝅘𝅥𝅮 = 154<br />
𝅘𝅥𝅮 = 162<br />
𝅘𝅥𝅮 = 156<br />
Table 1 - Tempo Study<br />
Movement<br />
14<br />
In Taberna<br />
scatenato<br />
𝅘𝅥𝅮 = 160<br />
𝅘𝅥𝅮 = 136<br />
𝅘𝅥𝅮 = 190<br />
𝅘𝅥𝅮 = 144<br />
𝅘𝅥𝅮 = 190<br />
𝅘𝅥𝅮 = 180<br />
𝅘𝅥𝅮 = 180<br />
𝅘𝅥𝅮 = 144<br />
𝅘𝅥𝅮 = 168<br />
Movement<br />
15<br />
Amor Volat<br />
undique<br />
m. 1<br />
𝅘𝅥𝅮 = 96<br />
𝅘𝅥𝅮 = 64<br />
𝅘𝅥𝅮 = 72<br />
𝅘𝅥𝅮 = 74<br />
𝅘𝅥𝅮 = 80<br />
𝅘𝅥𝅮 = 74<br />
𝅘𝅥𝅮 = 74<br />
𝅘𝅥𝅮 = 64<br />
𝅘𝅥𝅮 = 70<br />
nounced with standard ecclesiastical diction<br />
or should German-Latin pronunciation be<br />
used? Should standard German and French<br />
pronunciation be used, or is there a particular<br />
pronunciation appropriate for the time<br />
period in which it was written?<br />
In analyzing the pronunciation of the<br />
Carmina Burana text the author observed<br />
three principal trends whether the:<br />
• Latin text was performed with a Germanic<br />
pronunciation, an Ecclesiastical/<br />
Italianate pronunciation, or some sort<br />
of hybrid pronunciation;<br />
• German text was performed with modern<br />
German pronunciation or Middle High<br />
German pronunciation, representing<br />
the time period of the texts’ inception;<br />
and<br />
Movement<br />
17<br />
Stetit Puella<br />
m. 1<br />
𝅝 = 84<br />
𝅘𝅥𝅮 = 61<br />
𝅘𝅥𝅮 = 56<br />
𝅝 = 70<br />
𝅝 = 61<br />
𝅝 = 58<br />
𝅝 = 58<br />
𝅝 = 70<br />
𝅘𝅥𝅮 = 55<br />
Movement<br />
18<br />
Circa mea<br />
pectora<br />
anocora<br />
piu mosso<br />
na<br />
𝅝 = 106<br />
𝅝 = 92<br />
𝅝 = 94<br />
𝅝 = 78<br />
𝅝 = 90<br />
𝅝 = 90<br />
𝅝 = 170<br />
𝅝 = 84<br />
Movement<br />
24<br />
Ave<br />
formosissima<br />
𝅝 = 72<br />
𝅝 = 50<br />
𝅝 = 62<br />
𝅝 = 62<br />
𝅝 = 66<br />
𝅝 = 60<br />
𝅝 = 60<br />
𝅝 = 51<br />
𝅝 = 51<br />
• French diction in movement 16 (Dies, nox<br />
et omnia) was performed with modern<br />
French pronunciation, Old French, or<br />
some sort of hybrid pronunciation.<br />
Two sources were used in the analysis of<br />
diction for this study: Harold Copeman’s<br />
Singing in Latin, and the collection of essays<br />
titled Singing Early Music—The pronunciation<br />
of European languages in the Late Middle Ages<br />
and Renaissance, edited by Timothy J. McGee,<br />
A.G. Rigg and David N. Klausner.<br />
Latin Text<br />
Of the sixteen recordings in this study,<br />
only four used Ecclesiastical/Italianate Latin<br />
pronunciation (Muti, Ormandy, Shaw, and<br />
Stokowskis). The other twelve followed<br />
Germanic diction rules.<br />
CHORAL JOURNAL Volume 51 Number 4 51