Orff was born in Munich and came from a Bavarian family that was very active in the German military. His father's regimental band supposedly often played the compositions of the young Orff. He studied at the Munich Academy of Music until 1914, then served in the military during World War I. Afterwards he held various positions at opera houses in Mannheim and Darmstadt, later to return to Munich to further pursue his musical studies.
From 1925 Orff was the head of a department and co-founder of the Guenther School for gymnastics, music, and dance in Munich, where he worked with musical beginners. Having constant contact with children, this is where he developed his theories in music education.
While Orff's association, or lack thereof, with the Nazi party has never been conclusively established, his Carmina Burana was hugely popular in Nazi Germany after its premiere in Frankfurt in 1937, receiving numerous performances (although one Nazi critic reviewed it savagely as "degenerate", implying a connection with the contemporaneous, and infamous, exhibit of Entartete Kunst). He was one of the few German composers under the Nazi regime who responded to the official call to write new music for A Midsummer Night's Dream, after the music of Felix Mendelssohn had been banned, which in itself suggests where his sympathies lay; others refused to cooperate in this.
Orff was a personal friend of Kurt Huber, one of the founders of the resistance movement Die Weiße Rose (the White Rose), and who was condemned to death by the Volksgerichtshof and executed by the Nazis in 1943. After World War II, Orff claimed that he was a member of the group, and was himself involved in the resistance, but there was no evidence for this other than his own word, and other sources dispute his claim).
Orff is buried in the Baroque church of the beer-brewing Benedictine priory of Andechs, south of Munich.
Orff is best known for Carmina Burana (1937), a "scenic cantata". It is the first of a trilogy, Trionfi, which also includes Catulli Carmina and Trionfo di Afrodite. These compositions reflected his interest in medieval German poetry. Together the trilogy is called Trionfi, meaning "triumphs". The work was based on a thirteenth-century erotic verse written by the Goliards, found in a manuscript dubbed the Codex latinus monacensis, which had been discovered in a Bavarian monastery in 1803. The term "Goliards" was often used to describe students who wrote secular verse in the Middle Ages. While "modern" in some of his compositional techniques, Orff was able to capture the spirit of the medieval period in this trilogy, with infectious rhythms and easy tonalities. The mediaeval poems were written in an early form of German and Latin.
With the success of Carmina Burana, Orff orphaned all of his previous works except for Catulli Carmina and the En trata, which were rewritten until acceptable by Orff. He was reluctant to call any of his works simply operas. For example, he called Der Mond ("The Moon") (1939) a "Märchenoper" or Fairytale Opera, and placed Die Kluge ("The Wise Woman") (1943) in the same category. About his Antigone (1949), Orff said specifically that it was not an opera, rather a Vertonung, a "musical setting" of the ancient tragedy. The text is a German translation, by Friedrich Hölderlin, of the Sophocles play of the same name. The orchestration relies heavily on the percussion section, and is otherwise fairly simple.
Orff's last work, De Temporum Fine Comoedia ("A Play of the End of Time"), had its premiere at the Salzburg music festival on 20th August 1973, performed by Herbert von Karajan and the Cologne Radio Symphony Orchestra and Chorus. In this highly personal work, Orff presented a mystery play, in which he summarised his view on the end of time, sung in Greek, German, and Latin.
Carmina Burana: Estuans interius
Carl Orff Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Velut luna
Statu variabilis
Semper crescis
Aut decrescis
Vita detestabilis
Nunc obdurat
Et tunc curat
Egestatem,
Potestatem
Dissolvit ut glaciem.
Sors immanis
Et inanis,
Rota tu volubilis
Status malus
Vana salus
Semper dissolubilis
Obumbrata
Et velata
Michi quoque niteris
Nunc per ludum
Dorsum nudum
Fero tui sceleris.
Sors salutis
Et virtutis
Michi nunc contraria,
Est affectus
Et defectus
Semper in angaria.
Hac in hora
Sine mora
Corde pulsum tangite
Quod per sortem
Sternit fortem
Mecum omnes plangite
The Latin lyrics of "Ego sum abbas" in Carl Orff's Carmina Burana can be translated to "I am the abbot." The song itself is a commentary on the powerful position of the abbot in the medieval Catholic Church. The lyrics describe the abbot's ability to control the lives of those around him, both in terms of physical poverty and political power. The song alternates between different perspectives: the abbot's own ego and self-importance, the oppression and suffering of those under his power, and the general human experience of fate and fortune.
The opening lines, "O Fortuna, velut luna, statu variabilis" set the tone for the rest of the song. They describe the fickle nature of fate, which is compared to the phases of the moon. The lyrics go on to describe how life can be both unbearable and fleeting, with moments of both strength and weakness. The phrase "ludo mentis aciem" suggests that the abbot is playing a game with the minds of those under his control, dissolving their poverty and power like ice.
The second stanza, "Sors immanis et inanis, rota tu volubilis," describes the endless wheel of fate, where even good fortune is ultimately meaningless and temporary. The abbot is portrayed as having a false sense of security and salvation, which will inevitably crumble away. The final stanza shifts to a first-person perspective, where the singer is also subjected to the whims of fate and the oppressive power of those above them. The hour is called to "touch the heart's pulse," reiterating how deeply the experiences in the song resonate with the human experience.
Overall, "Ego sum abbas" speaks to the common themes in Carmina Burana of human fate, suffering, and the power dynamics within society.
Line by Line Meaning
O Fortuna
Oh fate
Velut luna
Like the moon
Statu variabilis
Constantly changing state
Semper crescis
Always increasing
Aut decrescis
Or decreasing
Vita detestabilis
Life is detestable
Nunc obdurat
Now it hardens
Et tunc curat
And then it cares
Ludo mentis aciem
I sharpen the edge of my mind through play
Egestatem, Potestatem
Poverty, power
Dissolvit ut glaciem
Melt like ice
Sors immanis
Immense fate
Et inanis
And empty
Rota tu volubilis
You are a rolling wheel
Status malus
Bad status
Vana salus
Vain hope
Semper dissolubilis
Always uncertain
Obumbrata
Overshadowed
Et velata
And veiled
Michi quoque niteris
You also press on me
Nunc per ludum
Now through play
Dorsum nudum
Naked back
Fero tui sceleris
I bear your crime
Sors salutis
Fate of salvation
Et virtutis
And virtue
Michi nunc contraria
Now against me
Est affectus
There is affliction
Et defectus
And defect
Semper in angaria
Always in distress
Hac in hora
In this hour
Sine mora
Without delay
Corde pulsum tangite
Touch the strings with your heart
Quod per sortem
Whatever fate
Sternit fortem
Strikes down the strong
Mecum omnes plangite
Weep with me all
Writer(s): Carl Orff
Contributed by Vivian N. Suggest a correction in the comments below.
@akechijubeimitsuhide
I always wonder why almost no big-name dramatic baritone adds this to their repertoire. Really demanding work with a lot of variety needed and certianly fun to perform.
@thefrankonion
Because they cannot perform it without making mistakes
@lindildeev5721
So, Fischer-Dieskau and Prey are "almost no big-name" ?
@akechijubeimitsuhide
@thefrankonion Well, Tézier has done it since and he sings like a god, as usual.
@conciencia21
@thefrankonion you are full of crap and do not know what you are talking about. Orff intended the baritone solo for a heavy lyric to dramatic voice. listen to Joseph Shore is one example of great a dramatic baritone singing the baritone solo in Carmina. I am a dramatic baritone and can sing the snuff out of carmina burana! high A and mezza di voce included. Malcolm McKenzie is another great example. Remember Musicianship does not equate instrument size or timber. two whole different animals.
@thsrsilva
Just found out that the lyrics for "One Winged Angel" are a bunch of pieces of Carmina Burana stitched together in a really badass song.
Bravo Uematsu
@MilionMaru
Set playback speed to 0.75 and the inspirations become really apparent
@leomtz1195
Ardiendo interiormente con ira vehemente, en mi amargura hablo conmigo mismo. De materia hecho, mi elemento es la ceniza, soy como una hoja con la que los vientos juegan. En vista de que es lo propio para que un hombre sabio pueda colocar sobre la roca los cimientos de su morada, soy indómito, como un río impetuoso, bajo cuyo curso nada perdura. Soy arrastrado violentamente como una nave sin marinero, igual que por los aires vaga una ave extraviada. Las cadenas no me atan, una llave no me retiene; Busco a aquellos que son como yo, y me encuentro con la perversidad. La languidez de mi corazón parece un asunto grave; bromear es agradable y más dulce que los panales. Todo lo que Venus pueda ordenar es muy agradable, ella nunca habita en los corazones indolentes. Sobre un escabroso camino voy, como cualquier hombre joven, sumergido en la depravación, olvidando la virtud, ávido de placer más que de salud, muerto en espíritu yo cuido mi piel.
@carlomariabezzi8460
❤Sembra una bella cantata ben fatta, così e basta. Eppure, qui dentro, c'è tutta la bellezza e tutta la potenza dell'intera Cultura Europea, c'è tutta la Storia d'Europa...❤
@aventh1114
2004, Berlin, Deutsche Staatsoper - this song starts and little 13 years old me decides to learn latin.... such a big impact on my life