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.
Veris leta facies
Carl Orff Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
mundo propinatur,
hiemalis acies
victa iam fugatur,
in vestitu vario
Flora principatur,
nemorum dulcisono
que cantu celebratur.
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!
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virgin
iam gaudia millena.
Ah!
The lyrics of Carl Orff's song Veris Leta Facies celebrates the arrival of spring after a long and harsh winter season. The first verse mentions the arrival of the beautiful and cheerful face of spring to the world. The winter has now been defeated and its armies have fled. The verse goes on to describe how the goddess of flowers, Flora, takes over the world with her colorful dress, and the woods begin to celebrate her arrival with their sweet melodies. This verse also contains an "Ah!" that is repeated throughout the song, which is a word that could be interpreted as an expression of the joy and excitement of the arrival of spring.
The second verse describes how Phoebus or Apollo, the Greek sun god, now shines with a new light, and his rays of sunshine bring new life to the flowers and surroundings. Zephyrus, the god of the west wind, also adds his touch by blowing his sweet-scented nectar throughout the world. The verse ends inviting everyone to run competitively towards love, suggesting that spring is the perfect time for new beginnings and flourishing love.
The third and final verse features Philomena, a Greek goddess of music, playing her sweet tunes on her lyre, while the fields shine bright with the colorful flowers. The birds come together as a choir in a peaceful and pleasant wooded area, singing their songs of joy and celebrating the new season. This verse ends with one last "Ah!" as if to summarize the entirety of the song's celebration of spring.
Line by Line Meaning
Veris leta facies
The joyous face of Spring has arrived
mundo propinatur,
It is brought forth to the world
hiemalis acies
The winter force
victa iam fugatur,
Has now been conquered and is fleeing
in vestitu vario
In various clothing
Flora principatur,
Spring is ruled by Flora
nemorum dulcisono
Amidst the sweet music
que cantu celebratur.
Of the forest that is being celebrated
Ah!
Ah!
Flore fusus gremio
Lying amidst the flowers
Phebus novo more
Phoebus in his renewed fashion
risum dat, hac vario
Gives a smile with this diverse
iam stipate flore.
Flowers that are already in bloom.
Zephyrus nectareo
The west wind is perfumed
spirans in odore.
Breathing in the scent.
Certatim pro bravio
Competing eagerly
curramus in amore.
We run in love.
Ah!
Ah!
Cytharizat cantico
Sweet Philomena sings
dulcis Philomena,
With the sound of her lyre,
flore rident vario
The varied flowers are smiling
prata iam serena,
The meadows are now serene
salit cetus avium
A choir of birds leaps
silve per amena,
Through the pleasant woods,
chorus promit virgin
The virgin chorus prophesies
iam gaudia millena.
A thousand joys already.
Ah!
Ah!
Contributed by Brody R. 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 :)