The work: --------- Carmina Burana Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Frankfurt am Main, 8-Jun-1937) by Carl Orff (*10-Jul-1895 Munich, +29-Mar-1982 Munich ) Piano Reduction by Henning Brauel Transcribed from Schott ED 2877, 1996 by Michael Bednarek Background: ----------- The Carmina Burana have been one of my favourites since High School. In those days, the slightly ribald parts were naturally cause of some of its attraction, magnified by the fact that the language served as a secretive code, the knowledge of which was shared only by few. But we also recognised that this music was different. It was loud, rhythmic, powerful. I've heard and seen many performances over the years, and still the piece maintains its attraction to me. Even the recently observed glut of recordings and the reduction of "O Fortuna" to muzak does not diminish my admiration for this work. It has no dramatis personae but is highly dramatic. It depicts in song, dance and magic images the force of fortune, the power of spring, the intoxication of love, but also man's love of a good drop. There's some excellent information about the Carmina Burana to be found on the Internet. One site that seems particularly outstanding to me is http://www.classical.net/music/comp.lst/works/orff-cb/carmina.html My favourite recording is still DG139362 (1968) [G. Janovitz, G. Stolze, D. Fischer-Dieskau, Sch”neberger S„ngerknaben, E. Jochum]. C. Orff was still alive then, and he authorized this version. In fact, the record has a photograph with him sitting in during a rehearsal or performance, with E. Jochum conducting. Having had a really good look at the score now, my major gripe with C. Orff is his overuse of accents; I guess that about 85% of all notes have an attack mark (>) and 15% have a staccato, and a considerable percentage has both. Not very many notes don't have any accent. Also, his Italian instructions are sometimes whimsical, to say the least: Pesante instead of Grave, con abbandono instead of liberamente or ad lib.; and what's allegro buffo, scatenato, urlante, sfrenato? So you need four dictionaries to read the score. On the other hand, Orff has provided exact metronomic directions, and these are in my experience followed in the vast majority of performances. Most of the numbers were transcribed during the beta testing of MOZART 7, and they provided a good testing ground. The piece: ---------- Reie Number 9 of the Carmina Burana consists of four pieces: the instrumental introduction, and two dialogues between the young women and men of the village. The first (Swaz hie gat umbe) very lively and raucous, the second (Chume, chum, geselle min) more intimate and contemplative. A repeat of "Swaz hie gat umbe" closes the section. Details: -------- The "Reie" is a short and quiet piece, in stark contrast to the following choral number. And these kind of contrasts are very typical for the whole work. Every phrase of the first theme has a different meter: 2-3-5, 2-3-7, 2. Also notable is the extremely low set ostinato. MOZART exhibits a bug here: the tempo setting at the end of a repeat section is carried back to the beginning of the repeat. This is wrong if the repeat section ends in a ritardando (bar 7). As a work-around, I introduced an empty bar after the ritardando where the tempo is reset to that of the beginning. I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file. Michael Bednarek http://mcmbednarek.tripod.com/ Brisbane, April 2003