CARMINA BURANA
CARMINA BURANA CARMINA BURANA
Orff Tilson Thomas De Burgos Ozawa Jochum Mahler Sawallisch Slatkin Thiellemann Movement 1 O fortuna mm 1-4 𝅝 = 60 𝅝 = 57 𝅝 = 52 𝅝 = 72 𝅝 = 60 𝅝 = 60 𝅝 = 61 𝅝 = 57 𝅝 = 53 faster than any other recording. In contrast, the recording with the overall slowest tempos was the Rafael Frübeck de Burgos recording, with the New Philharmonia Orchestra. Eighteen of the selected timed sections were slower than any other recording (see table 1 for specifi c tempo timings). When the recordings were compared by their dates of performance, no noticeable trend or tendency was found. Neither was there anything of signifi cance found when the gathered data were compared by nationality of the conductor. Text Pronunciation One of the greatest concerns in Orff’s Carmina Burana should be how to approach the obscure text. Should the Latin be pro- Movement 11 Estuans Interius 𝅘𝅥𝅮 = 152 𝅘𝅥𝅮 = 157 𝅘𝅥𝅮 = 158 𝅘𝅥𝅮 = 162 𝅘𝅥𝅮 = 170 𝅘𝅥𝅮 = 154 𝅘𝅥𝅮 = 154 𝅘𝅥𝅮 = 162 𝅘𝅥𝅮 = 156 Table 1 - Tempo Study Movement 14 In Taberna scatenato 𝅘𝅥𝅮 = 160 𝅘𝅥𝅮 = 136 𝅘𝅥𝅮 = 190 𝅘𝅥𝅮 = 144 𝅘𝅥𝅮 = 190 𝅘𝅥𝅮 = 180 𝅘𝅥𝅮 = 180 𝅘𝅥𝅮 = 144 𝅘𝅥𝅮 = 168 Movement 15 Amor Volat undique m. 1 𝅘𝅥𝅮 = 96 𝅘𝅥𝅮 = 64 𝅘𝅥𝅮 = 72 𝅘𝅥𝅮 = 74 𝅘𝅥𝅮 = 80 𝅘𝅥𝅮 = 74 𝅘𝅥𝅮 = 74 𝅘𝅥𝅮 = 64 𝅘𝅥𝅮 = 70 nounced with standard ecclesiastical diction or should German-Latin pronunciation be used? Should standard German and French pronunciation be used, or is there a particular pronunciation appropriate for the time period in which it was written? In analyzing the pronunciation of the Carmina Burana text the author observed three principal trends whether the: • Latin text was performed with a Germanic pronunciation, an Ecclesiastical/ Italianate pronunciation, or some sort of hybrid pronunciation; • German text was performed with modern German pronunciation or Middle High German pronunciation, representing the time period of the texts’ inception; and Movement 17 Stetit Puella m. 1 𝅝 = 84 𝅘𝅥𝅮 = 61 𝅘𝅥𝅮 = 56 𝅝 = 70 𝅝 = 61 𝅝 = 58 𝅝 = 58 𝅝 = 70 𝅘𝅥𝅮 = 55 Movement 18 Circa mea pectora anocora piu mosso na 𝅝 = 106 𝅝 = 92 𝅝 = 94 𝅝 = 78 𝅝 = 90 𝅝 = 90 𝅝 = 170 𝅝 = 84 Movement 24 Ave formosissima 𝅝 = 72 𝅝 = 50 𝅝 = 62 𝅝 = 62 𝅝 = 66 𝅝 = 60 𝅝 = 60 𝅝 = 51 𝅝 = 51 • French diction in movement 16 (Dies, nox et omnia) was performed with modern French pronunciation, Old French, or some sort of hybrid pronunciation. Two sources were used in the analysis of diction for this study: Harold Copeman’s Singing in Latin, and the collection of essays titled Singing Early Music—The pronunciation of European languages in the Late Middle Ages and Renaissance, edited by Timothy J. McGee, A.G. Rigg and David N. Klausner. Latin Text Of the sixteen recordings in this study, only four used Ecclesiastical/Italianate Latin pronunciation (Muti, Ormandy, Shaw, and Stokowskis). The other twelve followed Germanic diction rules. CHORAL JOURNAL Volume 51 Number 4 51
CARL ORFF'S CARMINA BURANA Specifi c to the Carmina Burana text, there are four principal differences in pronunciation between Ecclesiastical Latin and Germanic pronunciation: • The treatment of the internal consonant combination “sc,” (for example crescis). In ecclesiastical pronunciation, crescis is pronounced [crESis]. In other words, the “sc” sounds like the English “sh,” and the fi nal syllable “i” is pronounced closed, as in the English word “quiche.” In Germanic pronunciation, crescis is pronounced [crEtsIs]. The “sc” becomes a “ts” sound and the fi nal syllable “i” is pronounced open, as in the English word “it.” • The treatment of the consonant “g,” for example “egestatem.” 52 CHORAL JOURNAL Volume 51 Number 4 The ecclesiastical pronunciation of egestatem uses a soft “g” sound [EdZEstAtEm]. The “g” sounds like an English “j” as in “judge.” The surrounding “e” vowels are both open as in “bed.” The Germanic pronunciation of egestatem uses the hard “g” sound [EgEst AtEm]. The “g” sounds like the beginning of the word “get.” The surrounding “e”s sound like the “a” in “ate.” • The treatment of “c” surrounded by two vowels (for example glaciem). In Ecclesiastical pronunciation, glaciem is pronounced [glAtSiEm]. The “c” like “ch” in the work “cheese.” In Germanic pronunciation, glaciem is pronounced [glAtsiEm]. The “c” is pronounced like the “t” and the “s” in the word “pots.” • The treatment of the “ch” in michi. In Ecclesiastical pronunciation, michi is pronounced [miki]. In German pronunciation, michi is pronounced [miCi]. Here the “ch” is similar to the sound of “h” in the English word “hue.” 4 There were several inconsistencies in those recordings using Germanic Latin pronunciation. 1. In movement 19 (Si puer cum puellula), the word Felix (fortunate) in most recordings An ISO 9001:2000-compliant manufacturer • Toll-free (Canada and USA): 1-877-246-7253 • Telephone and fax: +1 604.733.3995 GREAT PERFORMANCES, NO SNAGS. Snag-free rings never misalign. Custom foil stamping adds elegance and convenient ID. Secure hand strap lets you perform with confidence. The MUSICFOLDER.com RingBinder A FOLDER FOR INSTRUMENTALISTS! S! Our new Concert Band & Orchestra Folder is s extra-wide for storing and displaying scores, and made e with the same high quality construction found on all our folders. Ideal for conductors and instrumentalists. successful concert needs a great A performance from every source – including your music folder. Which is why we designed our RingBinder with special rings that never snag or misalign – so you can concentrate on singing rather than fumbling. It’s details like these that make our many folders, with options from clear pockets to retaining chords to custom imprinting, the growing choice for choirs around the world. Order yours from www.musicfolder.com or your local distributor. Or give us a ring. IT’LL FLIP FOR YOU New Jazz Stand sets up with legs frontward or reversed – then folds flat (right) for easy storage. Clever! Available shoulder bag is big enough for both stand and music. For singers, instrumentalists and conductors.
- Page 1 and 2: CARL ORFF’S CARMINA BURANA An Ana
- Page 3: CARL ORFF'S CARMINA BURANA The cond
- Page 7 and 8: CARL ORFF'S CARMINA BURANA Conducto
- Page 9 and 10: CARL ORFF'S CARMINA BURANA • A mo
- Page 11 and 12: CARL ORFF'S CARMINA BURANA measure
- Page 13 and 14: CARL ORFF'S CARMINA BURANA 60 CHORA
- Page 15 and 16: CARL ORFF'S CARMINA BURANA Shinyuka
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
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