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: Veris leta facies
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 lyrics of Carl Orff's song, Carmina Burana: Fortuna Imperatix Mundi: O Fortuna, are written in Latin and revolve around the theme of fate, which is often symbolized by Fortuna, the Roman goddess of luck and fate. The song begins with the lines "O Fortuna, velut luna, statu variabilis" which translates to "O Fortune, like the moon, you are changeable." These lines suggest that fate is an unpredictable force that influences and affects everyone's lives.
The second stanza of the song describes the effects of fate on human life, which at times feels unbearable and callous. The lyrics "nunc obdurat et tunc curat" translate to "now you are hard, and now you suddenly soften." The verse also suggests that fate has the power to influence the mind and create a sense of illusion or uncertainty. The line "ludo mentis aciem, egestatem, potentatem dissolvit ut glaciem" means fate can dissolve the mind's power, poverty, and authority like ice.
The final stanza calls for attention and action in the face of fate's power. The line "hac in hora sine mora corde pulsum tangite" translates to "strike the chords firmly in this hour, for fate strikes down the strong with everyone." This phrase urges listeners to take charge of their own lives and to recognize the fragility of their existence in the face of the powers of fortune and fate.
Line by Line Meaning
O Fortuna
Oh, Fortune
velut luna
like the moon
statu variabilis
you are changeable
semper crescis
always increasing
aut decrescis
or decreasing
vita detestabilis
hateful life
nunc obdurat
now hardens
et tunc curat
and then cares
ludo mentis aciem
playing with the sharpness of the mind
egestatem
poverty
potestatem
power
dissolvit ut glaciem
melts like ice
Sors immanis
Fate monstrous
et inanis
and empty
rota tu volubilis
you whirling wheel
status malus
you are malevolent
vana salus
well-being is vain
semper dissolubilis
and always fades to nothing
Obumbrata
Shadowed
et velata
and veiled
michi quoque niteris
you plague me too
nunc per ludum
now through the game
dorsum nudum
bareback
fero tui sceleris
I bring my bare back to your villainy
Sors salutis
Fate is against me
et virtutis
in health
michi nunc contraria
and virtue, driven on and weighted down
est affectus
always enslaved
et defectus
and always captive
semper in angaria
so at this hour without delay pluck the vibrating strings;
Hac in hora
since Fate strikes down the strong man,
sine mora corde pulsum tangite
everyone weep with me!
quod per sortem sternit fortem
The lament is begun by the poets
mecum omnes plangite
with elegiac lay mournfully accompanied.
Writer(s): Carl Orff
Contributed by James O. Suggest a correction in the comments below.
@j.e.d.3563
Flore fusus gremio
Phebus novo more
risum dat, hac vario
iam stipate flore.
Zephyrus nectareo
spirans in odore.
Certatim pro bravio
curramus in amore.
Ah!
Lying in Flora's lap
Phoebus once more
smiles, now covered
in multi-coloured flowers,
Zephyr breathes nectar-
scented breezes.
Let us rush to compete
for love's prize.
Ah!
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
promit virgin
iam gaudia millena
Ah!
In harp-like tones sings
the sweet nightingale,
with many flowers
the joyous meadows are laughing,
a flock of birds rises up
through the pleasant forests,
the chorus of maidens
already promises a thousand joys.
Ah!
@lanlon11
baharın şen yüzü
dünyaya döndü,
sert kış
şimdi kaçıyor, mağlup oldu;
rengarek süslenen
flora hüküm sürecek,
koruların ahengi
onu şarkılarda övecek!
flora'nın kucağında uzanıp
phoebus bir kez daha
gülümser, şimdi bin bir renkli
çiçekle bezeli,
zephyr nektar kokulu
esintileri solur
haydi aşkın ödülü için
yarışmaya acele edelim. ah!
tatlı bülbül arp tınılarında
şarkı söyler
neşeli çayırlar
binbir çiçekle güler,
kuş sürüleri havalanır
hoş ormanların arasından,
bakireler korosunun arasından
@solja19k
Bittersweet music to the most disturbing movie I've ever watched. Bravo!
@DumbWaiters
The movie is awful, it misses the whole point.
@The123GG
You see why a choice of this song is genious in the last scene. It is actually about spring and how it forces winter to step back and about new love start. But damn it is also sinister in melody. It combines pleasure and pain.
@juannavarro5487
Pier Paolo Pasolini brought me here... The 120 days of Salo.
@sherafati
Oh how it was difficult to find the name of this song
@savromx4230
Me too :))
@MyHeartsBeat
here for this too and because of this movie this song makes so uncomfortable in a way, i still love it.
@happygolucky7241
Same.
@raoulmolieres8652
Voilà, un grand bravo
@jameshall401
Well, I found this piece from, and I'm ashamed to say it, Salo or the 120 days of Sodom. As a classical musician of 8 years, I'm happy to have found this beautiful piece!! Also it's nice that the uploader is still replying and hearting comments after 12 years :)