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Carl Orff and His Famous Cantata 'Carmina Burana', Study Guides, Projects, Research of Music

An in-depth analysis of the life and works of German composer Carl Orff, with a focus on his famous cantata 'Carmina Burana'. Orff's musical style, influences, and compositional techniques are discussed, as well as the historical context and significance of 'Carmina Burana'. The analysis includes a detailed breakdown of the structure, themes, and instrumentation of the cantata, providing valuable insights into Orff's unique approach to music.

Typology: Study Guides, Projects, Research

2020/2021

Uploaded on 12/10/2021

tuti3101
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COMPOSER:
Born in 1895 to an old Bavarian family,Orffstudied piano and cello while still a young boy.
He later studied at the Munich Academy of Music, graduating in 1914. The music that he
composed during this period shows the influence of several composers,
includingDebussyandRichard Strauss. In 1914,Orffwas appointed Kapellmeister at the
Munich Kammerspiele, where he remained until joining the military in 1917. Discharged
from service the following year,Orffcontinued to work as a conductor, accepting further
positions in Mannheim and Darmstadt during the 1918-1919 seasons. Returning to Munich in
1919,Orffstudied composition privately withHeinrich Kaminskiwhile supporting himself as
a teacher. In 1924, he founded the Güntherschule for music and dance with Dorothee
Günther, dedicating himself to making musical performance accessible to children. Under his
guidance, an entire orchestra of special "Orffinstruments" was designed, enabling children to
play music without formal training. The following year,Orffmade three stage adaptations of
works byMonteverdi. Continuing his work in the area of Baroque music,Orffbecame
conductor of the Munich Bach society in 1930, a position he held until 1933. The experience
of performing Baroque music, particularly sacred works for the stage, convincedOrffthat an
effective musical performance must fuse music, words and movement, a goal no doubt partly
inspired by his work with the Güntherschule.Orffembodied his conception of music in the
fabulously successful Carmina Burana (1937), which in many ways defined him as a
composer. Based on an important collection of Latin and German Goliard poems found in the
monastery of Benediktbeuren, this work exemplifiesOrff's search for an idiom that would
reveal the elemental power of music, allowing the listener to experience music as an
overwhelming, primitive force. Goliard poetry, which not only celebrates love and wine, but
also pokes fun at the clergy, perfectly suitedOrff's desire to create a musical work appealing
to a fundamental musicality that, as he believed, every human being possesses. Eschewing
melodic development and harmonic complexity, and articulating his musical ideas through
basic sonorities and easily discernible rhythmic patterns,Orffcreated an idiom which many
found irresistible. The perceived "primitivism" of Carmina burana
notwithstanding,Orffbelieved that the profound appeal of music is not merely physical. This
belief is reflected by many other works, including musical dramas based on Greek tragedies,
namely, Antigonae (1949), Oedipus der Tyrann (1959), and Prometheus (1966). These works,
as well as some compositions on Christian themes, followed the composer's established
dramatic and compositional techniques, but failed to repeat the tremendous success of
Carmina burana. His last work, De temporum fine comoedia (A Comedy About the End of
Time) premiered at the 1973 Salzburg Festival. Nine years later,Carl Orffdied in Munich,
where he had spent his entire life.
CARMINA BURANA:
Carmina Buranais acantatacomposed in 1935 and 1936 byCarl Orff, based on 24 poems
from themedievalcollectionCarmina Burana. Its fullLatintitle isCarmina Burana:
Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque
imaginibus magicis("Songs ofBeuern: Secular songs for singers andchorusesto be sung
together with instruments and magical images"). It was first performed by theOper
Frankfurton 8 June 1937. It is part ofTrionfi, a musicaltriptychthat also includesCatulli
CarminaandTrionfo di Afrodite. The first and last sections of the piece are called "Fortuna
Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".
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COMPOSER:

Born in 1895 to an old Bavarian family, Orff studied piano and cello while still a young boy. He later studied at the Munich Academy of Music, graduating in 1914. The music that he composed during this period shows the influence of several composers, including Debussy and Richard Strauss. In 1914, Orff was appointed Kapellmeister at the Munich Kammerspiele, where he remained until joining the military in 1917. Discharged from service the following year, Orff continued to work as a conductor, accepting further positions in Mannheim and Darmstadt during the 1918-1919 seasons. Returning to Munich in 1919, Orff studied composition privately with Heinrich Kaminski while supporting himself as a teacher. In 1924, he founded the Güntherschule for music and dance with Dorothee Günther, dedicating himself to making musical performance accessible to children. Under his guidance, an entire orchestra of special "Orff instruments" was designed, enabling children to play music without formal training. The following year, Orff made three stage adaptations of works by Monteverdi. Continuing his work in the area of Baroque music, Orff became conductor of the Munich Bach society in 1930, a position he held until 1933. The experience of performing Baroque music, particularly sacred works for the stage, convinced Orff that an effective musical performance must fuse music, words and movement, a goal no doubt partly inspired by his work with the Güntherschule. Orff embodied his conception of music in the fabulously successful Carmina Burana (1937), which in many ways defined him as a composer. Based on an important collection of Latin and German Goliard poems found in the monastery of Benediktbeuren, this work exemplifies Orff's search for an idiom that would reveal the elemental power of music, allowing the listener to experience music as an overwhelming, primitive force. Goliard poetry, which not only celebrates love and wine, but also pokes fun at the clergy, perfectly suited Orff's desire to create a musical work appealing to a fundamental musicality that, as he believed, every human being possesses. Eschewing melodic development and harmonic complexity, and articulating his musical ideas through basic sonorities and easily discernible rhythmic patterns, Orff created an idiom which many found irresistible. The perceived "primitivism" of Carmina burana notwithstanding, Orff believed that the profound appeal of music is not merely physical. This belief is reflected by many other works, including musical dramas based on Greek tragedies, namely, Antigonae (1949), Oedipus der Tyrann (1959), and Prometheus (1966). These works, as well as some compositions on Christian themes, followed the composer's established dramatic and compositional techniques, but failed to repeat the tremendous success of Carmina burana. His last work, De temporum fine comoedia (A Comedy About the End of Time) premiered at the 1973 Salzburg Festival. Nine years later, Carl Orff died in Munich, where he had spent his entire life. CARMINA BURANA: Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images"). It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi , a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".

VIẾT:

O FORTUNA:

sử dụng timpani hợp xướng : ban đầu hung hồn, về sau vài giây nhỏ nhẹ nhưng nhanh, dồn dập violin gảy dây âm nhẹ và kéo đan xen sử dụng oboe+ triangle => âm điệu hào hung, hoành tráng=> nổi da gà , hầu như toàn bộ nhạc cụ đc sử dụng=> khởi đầu thỏa mãn thính giác người nghe Sử dụng gong+ cymbals là tăng sự hoành tráng, them đậm nét cổ điển Càng về cuối âm điệu càng dồn dập mạnh mẽ, kết hợp với dàn hợp xướng xen cài nhịp giọng ngắn nhanh đến hết phần đầu. Fortune plango vulnera: Dàn hợp xướng ban đầu 2 chút hào hungf nhưng chưa quá mạnh mẽ, dần dần nhanh và dồn dập hơn, trumpet + violin đc kết hợp tang sự mãnh liệt trong cảm xúc của giai điệu. trống cũng ddc sử dụng tangw nhịp điệu mạnh => tính chất này được lặp lại trong phần còn lại của mục này. I. Primo vere Veris Leta Facies: sử dụng sáo để tạo nên sự trong trẻo Trumpet đc sử dụng làm tang nên sự hùng tráng Dàn hợp xướng làm nổi bật lên tính chất sâu lắng, một chút gì đó như đi vào chốn thần tiên đầy vang vọng đan xen liên tục. Triangle đc sử dụng để làm tăng sự trong trẻo, tươi mát, dịu dàng và ngời sáng. Việc sử dụng sao điêu luyện khiến phần vừa rồi như một thứ nhạc đầy tươi sáng trong trẻo, tràn đầy sức sống. OMNIA SOL TEMPERAT Omnia Sol Temperat: Ecce gratum: Sau phần hát opera đầy cảm xúc với đc kết hợp vs 1 chút violin, giúp phần đầu có phần sâu lắng nhưng chưa thực sự khiến tôi quá ấn tượng

Giọng ca nhanh mạnh, dồn dập+ violin, cellos=> hung tráng III. Cour d'amours Amor volat undique: Soprano=> cao+ triangle+ sáo+ giọng nữ thánh thót, em dịu, violin nhịp nhàng Thật sự thích độ cao trong tông giọng của ca sĩ nữ=> trong trẻo Dies, nox et omnia: Baritone trong trẻo và nhẹ nhàng hơn trước nhưng sau đó trở nên trầm và cứ đan xen như thế=> da diết Stetit puella: Soprano=> như phần trước, cao và trong trẻo=> ấn tượng với giọng nữ, độ ngân vang Circa mea pectora: baritone, choir: sự kết hợp tạo nên sự hung tráng, giọng nữ tạo nên sự trong trẻo. baritone kết hợp vs hợp xướng nam tạo nên sự hung hồn. violin+xylophone thật sự tuyệt vời Si puer cum puellula: 3 tenors, 1 baritone, 2 basses, không để lại ấn tượng Veni, veni, venias Tiếng piano kết hợp vs hợp xướng là phần tôi yêu thích nhất, kết hợp vs màn đập giấy Độc đáo và vô cùng ấn tượng In trutina Giọng nữ du dương, cao và trong, tiếng sáo nhẹ nhàng gây thương nhớ Âm điệu du dương, thoải mái Tempus est iocundum: Baritone kết hợp với hợp xướng luôn tạo ra 1 sự hung tráng nhất định, còn hợp xướng riêng sẽ tạo sự vui tươi, nhí nhảnh, dồn dập và mạnh. Dulcissime: Giọng nữ trong trẻo Ave formosissima Hợp xướng hung tráng, mạnh mẽ, gây nổi da gà O Fortuna (reprise): đây là khúc tôi ưa thích nhất, nó làm nổi bật sự hung tráng của bản nhạc, sự kết hợp tuyệt vời giữa hợp xướng và nhạc cụ như iolin và cellon, tạo nên cảm giác nổi da gà đối với người nghe. Sự hoành tráng trong không khí ở khúc này thực sự khiến bài nhạc càng trở nên giá trị hơn.