Catulli Carmina: Act 3, No. 9
Carl Orff (10th July 1895–29th March 1982) was a German composer, most famo… Read Full Bio ↴Carl Orff (10th July 1895–29th March 1982) was a German composer, most famous for his Carmina Burana (1937), and an important and influential music educator.
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.
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.
Catulli Carmina: Act 3 No. 9
Carl Orff Lyrics
We have lyrics for these tracks by Carl Orff:
"O Fortuna" O Fortuna, Velut luna Statu variabilis, Semper crescis Aut d…
Amor Volat Undique Amor volat undique, captus est libidine. Iuvenes, iuvencule …
Apparizione di Afrodite the Greek verses with Latin alphabet (*Greek original verses…
Ave formosissima Ave formosissima, gemma pretiosa, ave decus virginum, virgo …
Carmina I- ODI ET AMO Odi et amo. quare id faciam, fortasse…
Carmina Burana O Fortuna (O Fortune) velut luna (like the moon) statu var…
Carmina Burana 'O Fortuna' O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana - Fortune Plango Vulnera Fortune plango vulnera Stillantibus ocellis Quod sua mihi mu…
Carmina Burana o Fortuna Oh Fortuna Carmina Burana O fortuna Velut luna Statu varia…
Carmina Burana: Amor volat undique O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: Chramer gip die varwe mir Chramer, gip die varwe mir, …
Carmina Burana: Dies Nox Et Omnia Dies, nox et omnia …
Carmina Burana: Ecce gratium I know we can make it baby If only we try Lets…
Carmina Burana: Ecce gratum O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: Floret silva O Fortuna (O Fortune) Velut luna (like the moon) Statu varia…
Carmina Burana: Fortuna Imperatix Mundi: Fortune plango vulnera O Fortuna velut luna statu variabilis semper crescis aut…
Carmina Burana: Fortuna Imperatrix Mundi O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna O Fortuna velut luna statu variabilis semper crescis aut…
Carmina Burana: Fortune plange vulnera Fortune plango vulnera Stillantibus ocellis Quod sua michi m…
Carmina Burana: Fortune plango vulnera Fortune plango vulnera Stillantibus ocellis Quod sua mihi mu…
Carmina Burana: I. O Fortuna O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: II. Fortune plango vulnera Fortune plango vulnera Stillantibus ocellis Quod sua michi m…
Carmina Burana: II. In taberna O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: II. In taberna: In taberna quando sumus In taberna quando sumus …
Carmina Burana: III. Cour d'amour O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: III. Veris leta facies Veris leta facies Mundo propinatur, Hiemalis acies Victa iam…
Carmina Burana: In Taberna Quando Sumus In taberna quando sumus …
Carmina Burana: In Trutina O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: IV. Omnia sol temperat Omnia sol temperat Purus et subtilis, Novo mundo reserat Fac…
Carmina Burana: O Fortuna O Fortuna O Fortune, velut luna like the moon statu variabil…
Carmina Burana: Omnia Sol temperat Omnia sol temperat Purus et subtilis, Novo mundo reserat Fac…
Carmina Burana: Primo Vere: Ecce gratum Ecce gratum Ecce gratum Et optatum Ver reducit gaudia. Ecce …
Carmina Burana: Primo Vere: Omnia sol temperat O Fortuna velut luna statu variabilis semper crescis aut…
Carmina Burana: Si Puer Cum Puellula Si puer cum puellula …
Carmina Burana: Stetit Puella Stetit puella Rufa tunica; Si quis eam tetigit, Tunica crepu…
Carmina Burana: Tanz O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: Uf dem Anger - Dance O Fortuna velut luna statu variabilis semper crescis aut…
Carmina Burana: Uf dem Anger: Dance O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: V. Ecce gratum Ecce gratum Et optatum Ver reducit gaudia, Purpuratum Floret…
Carmina Burana: Veni Veni Venias O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Carmina Burana: Veris leta facies O Fortuna velut luna statu variabilis semper crescis aut…
Carmina Burana: XIV. In taberna: In taberna quando sumus In taberna quando sumus …
Catulli Carmina I- ODI ET AMO Odi et amo. quare id faciam, fortasse…
Catulli Carmina: 1. Eis aiona! PRAELUSIO : EIS AIONA! Together: Eis aiona! …
Catulli Carmina: Act 1 No 1 I- ODI ET AMO Odi et amo. quare id faciam, fortasse…
Catulli Carmina: Exodium: Chorus: Eis aiona PRAELUSIO : EIS AIONA! Together: Eis aiona! …
Charmer gip die varwe mir Chramer, gip die varwe mir, …
Chorus: Eis aiona PRAELUSIO : EIS AIONA! Together: Eis aiona! …
Chramer gip de varwe mir Chramer, gip die varwe mir, …
Chramer gip die varwe mir (Semi-Chorus) Chramer, gip die varwe mir, Die min wengel roe…
Chramer, Gip Die Varwe Mir Chramer, gip die varwe mir, die min wengel roete, damit ich …
Circa mea pectora Circa mea pectora multa sunt suspiria de tua pulchritudine, …
Cours D'Amours: Dies Nox Et Omnia Dies, nox et omnia …
Cours D'Amours: Si Puer Cum Puellula Si puer cum puellula …
Dies nox et omnia Dies, nox et omnia Michi sunt contraria; Virginum colloqui…
Dies, nox et omnia Dies, nox et omnia michi sunt contraria; virginum colloquia …
Dulcissime Dulcissime! Ah! Totam tibi subdo me!…
Ecce gratum Ecce gratum et optatum Ver reducit gaudia, purpuratum floret…
Ego sum abbas Ego sum abbas Cucaniensis et consilium meum est cum bibulis,…
Estuans Interius Estuans interius ira vehementi in amaritudine loquor mee men…
Estuans interius... Estuans interius …
Floret Silva Floret silva nobilis floribus et foliis. Ubi est antiquus me…
Floret Silva Nobilis [Chorus:] Floret silva nobilis Floribus et foliis. (Small Ch…
Fortuna O fortuna Velut luna Statu variabilis, Semper crescis Aut de…
Fortuna imperatrix mundi O Fortuna velut luna statu variabilis, semper crescis au…
Fortuna Imperatrix Mundi: Fortune plango vulnera Fortune plango vulnera stillantibus ocellis quod sua michi…
Fortuna Imperatrix Mundi: O Fortuna O Fortuna, Velut Luna Statu variabilis, Semper crescis Aut d…
Fortune Empress of the World: O Fortuna O Fortuna Velut luna Statu variabilis Semper crescis Aut dec…
Fortune plango vulnera Fortune plango vulnera stillantibus ocellis quod sua mihi mu…
Fortune, Empress of the World: O Fortuna O Fortuna velut luna statu variabilis, semper crescis aut de…
Gassenhauer kelmangeee magee kakoo kakooo candan geel mageee kakoooo kak…
I Ecce gratum Section: Primo Vere …
II In Taberna In taberna quando sumus …
In taberna quando sumus In taberna quando sumus non curamus quid sit humus, sed ad l…
In the Tavern: In taberna quando sumus In taberna quando sumus …
In trutina In truitina mentis dubia fluctuant contraria alscivus amor e…
La Taberna: In taberna quando sumus In taberna quando sumus …
O Fortuna O Fortuna velut luna statu variabilis, semper crescis aut de…
Olim lacus colueram Olim lacus colueram, olim pulcher extiteram, dum cignus ego …
Omnia sol temperat Omnia sol temperat Purus et subtilis, Novo mundo reserat …
O´fortuna Section: Imperatrix Mundi (Empress of the World) O Fortuna…
Primo Vere: Omnia Sol temperat Omnia sol temperat Purus et subtilis, Novo mundo reserat Fac…
Primo Vere: Veris leta facies Veris leta facies Mundo propinatur, Hiemalis acies Victa iam…
Reie - Swaz hie gat umbe - Swaz hie gat umbe, Daz…
Si puer cum puellula Si puer cum puellula moraretur ni cellula, felix coniunctio.…
Spring: Omnia Sol temperat Section: Primo Vere …
Stetit puella Stetit puella Rufa tunica; Si quis eam tetigit, Tunica cr…
Swaz Hie Gat Umbe SWAZ HIE GAT UMBE Swaz hie gat umbe, Those who go…
Tanz Instrumental.…
Tempus est iocundum Tempus es iocundum, o virgines, modo congaudete vos iuvenes.…
The Court of Love: Dies nox et omnia Dies, nox et omnia …
The Court of Love: Si puer cum puellula Si puer cum puellula …
Trionfo di Afrodite the Greek verses with Latin alphabet (*Greek original verses…
Veni veni venias Veni, veni, venias Veni, veni, venias, Ne me mori facias,…
Veni, Veni, Venias Veni, veni, venias Veni, veni, venias, ne me mori facias, hy…
Veris Leta Facies Veris leta facies mundo propinatur, hiemalis acies victa iam…
Were diu werlt alle min Were diu werlt alle min von deme mere unze an den…
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@lachlang683
I discovered this lesser known work when I was around 15 years old. I had read it formed part of Orff's trilogy of cantatas; Carmina Burana, Catulli Carmina and Trionfo di Afrodite and having listened to Carmina Burana a million times, it seemed a logical step.
@dasgroovt
Wow..Groove... Groove.... Groove..powerfull..👏
@boniface23
I had 20 or 21. :))
@guillermoaugustotaveraguit4323
i heared for first time this work when i was 12-13 years old, in an uncesored latin version; then i laughed at the words of the senex (old men choir)... now i am 64 years old, i dont dare laugh at the senex..., yes "in eternity.. oh such a ridicolous thing"
@EpicureanSwerve
Awesome, thanks so much for sharing!
@tuberobotto
I remember that time (early 70s) I was part of the team of 3 (or was it 4?) pianists that played the piano parts simultaneously, in the hall of the conservatory in the University of the Philippines called Abelardo Hall Auditorium. (I can't remember how many percussionists there were though playing the Orff prescribed percussions, I also can't remember accurately how many nights we preformed it). One thing was for sure, it sort of enraged the Dean because the MD insisted that they install several semi-monumental phallic symbols all around the auditorium to make the point of the story clear to the audience. The Dean insisted they be removed otherwise the performance would be banned, or something. Us pianists and the rest of the musicians were also positioned in several points of the auditorium to sort of create a ''sensurround'' effect. The singers probably had a hard time competing in that set-up, volume-wise, but they were excellent singers with powerful lungs aided with some on-stage amplification. Not exactly a ''Bayreuth Fest'' set-up (and set of Wagnerian singers) but we did fine for the few nights we performed.
Although the Carl Orff music/libretto stirred some bit of controversy around the campus, I guess everybody had fun just for the mere ability to perform the challenging music, particularly in the depiction of the ''play within the play, the dream within the dream'' sequences. What was ironically funny in a very serious performance was hearing X-rated and suggestive lyrics, naughty at the least, which would probably have earned some down points from censors back then.
Carmina Burana was no different, with it's suggestive debauchery context, but Catulli brings the trophy home. I do love Catulli's musical aspect/content, the musical construct that's typically Orff and the style/genre in which he constructed the whole drama. The portions without instruments are a huge challenge for the singers (and chorus) who have to sing in vocal parts and harmony (and sometimes in unison). God only knows if anyone (or everyone) ever stayed in the right pitch the whole time (unless everyone has that perfect pitch ability).
Anyway, thanks so much for uploading this music. Brings back so many nice memories of the performance and of the campus conundrum of the period.
@uncawizard
Loved your story. This piece is rarely performed, probably because of the x-rated texts. Ironically, it is no more x-rated than many movies. Some performances just omit the naughty bits, and it seems impossible to find a translation of those passages, though it isn't difficult to figure out what it means. Too bad, because, for me, this is almost as good as Burana. And like tuberotto I have a lot of memories of listening to Catulli -- and thinking I was getting away with something, like sneaking in to an x-rated movie.
I recall a case of censorship like this many years ago when the Dean at Peabody wouldn't allow a visiting composer to include one of his titles on the printed program of his concert. The piece? "Fallopian Tube Waltz #93." How shocking!!
@readysteadyretro
Wow. Loved reading your comment. Treasure your memory x
@johnboy9596
14:33 is where the Tenor Solo starts for anyone trying to learn it.
@rolfisdreamworld489
Orff, ein Meister des Rythmus. Heute würde er Rockopern schreiben