James Levine – Carl Orff – Carmina Burana

Between post romantic expressionism and 20th century avant-garde there were only few composers looking for more natural and clear methods of creating music. Among them was Carl Orff who experimented with mediaeval and renaissance technical constructions, combining its straightforwardness with folk music traditions and simple rhythmic intensity. He was one of 20th century most famous composers and teachers for developing one of widely recognized methods of musical education. How it has often happened in the twentieth century, he owes its fame to one work only. This one is scenic cantata Carmina burana premiered in 1937. Later Orff composed two similar works Catulli carmina (1943) and Trionfo di Afrodite (1953) establishing three part cycle called Trionfi. He is also author of didactic Musik für Kinder and many dramatic works in type of cameral opera or musical on religious and secular subjects from Orpheus (1924), through Die Kluge (1943) to De Temporum Fine Comoedia (Play of the End of Time – 1973).
His creative talents he demonstrated in childhood. He was composing songs and writing children plays. Developing for his personal interests he was also studied natural history focusing on entomology and collecting insects. Born in Munich in 1895 in family of military traditions, he was serving in artillery and during World War I he suffered serious wounds. After the convalescence he back to his before war activities. Learning composition on his own he studied works of classical masters and style of highest rated contemporary composer Richard Strauss. He was forced to solve crucial dilemmas of modern art and living in reality of nazi Germany. And he achieved success both in music and in teaching, even if he is commonly known as composer of one cantata and constructor of the set of instruments called by his name Orff Set.

James Levine – Carl Orff – Carmina Burana (1984)

Orff’s cantata was set mostly to the text in Latin with small parts in Mittelhochdeutsch and Occitan. Work full title is in Latin: Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis. Great success of the work gave composer enough self-confidence to state in letter to his publisher everything he composed before is obsolete and this is the first composition he is reopening catalogue of his works. Power of this music, which sometimes was described as modern primitive, lays in organic relationship between poetic, sometimes naïve and sometimes sardonic texts, emotionally clear and strong melodies, power of choir sound and instrumental, more percussive than symphonic accompaniment. Of course final shape of the work depends of performance style. Good example of American school of reading Orff’s works is the one by James Levine.
In opposition to many European renditions, American artists in most cases are choosing more symphonic and grandiose way of performing Carmina burana. They smoothing the archaic contours of instrumentation and enhancing the expressive layer of the work, and thus form more traditional piece, which is closer to solemn oratorio or even opera than mediaeval mystery. But it’s still beautiful and thrilling. This one of best American-way-performances of Orff’s cantata is 1984 rendition by James Levine conducting Chicago Symphony Orchestra and two phenomenally sounding choirs, Chicago Symphony Chorus and Glen Ellyn Children’s Chorus. Trio of great singers – perfect, deep and warm soprano of June Anderson, characteristic, cold, sometimes sounding really ironically tenor of Philip Creech and strong baritone of Bernd Weikl with powerful acting background gave this performance narrative power in best style of modern music.

Kurt Eichhorn – Carl Orff – Carmina Burana

Romantic ideologies initiated the interest in folk culture so the estimate to the achievements of past eras. Zeal with which ancient stories had been valued gave them position of Wisdom texts. This mechanism had striking continuation in twentieth-century art, especially in German-speaking countries and in the works associated with the expressionist style. One of the works, have made most success was Carl Orff's cantata Carmina burana. The text of the work originated in Middle Ages but its idea was purely romantic. In 1847 German philologist Johann Andreas Schmeller published the choice of wandering scholars poetry titled Carmina burana. The cycle of songs by anonymous authors of 13th and 14th century has been collected by Benedictine monks in Monastery of Benediktbeuren and occured priceless testimony of late mediaeval culture. In 1935 composer Carl Orff with the philological help from Michel Hofmann selected 24 texts from Schmeller’s edition and arranged them into libretto of cantata, next year the composition was ready and June 8, 1937 in Frankfurt Opera work has been premiered.
First stage performance of Carmina Burana was set in decorations designed by Ludwig Sievert. According to his design stage was stylized to imitate mediaeval church presbytery. Gothic choir stalls looked as it were authentic, but in the place of main altar Sievert placed gigantic wheel of Fortune. This scenography was trying to suggest listener main ideas of Orff’s cantata. Both in lyrics and in music mixing religious sublimity, emotional freedom and liberal sensory decided about unique style of this work. A subtle allusion to the wheel of fortune and some reminiscence of premiere setup one can find in design of maybe first really loud and acclaimed staging after the war. It was made by Helmut Jürgens for Munich Prinzregententheater in season 1959/1960. And this project was used as cover design of the record published in 1973 under the Ariola-Eurodisc label.

Kurt Eichhorn - Carl Orff's Carmina Burana (1973)

One of the best Carmina burana ever published on records is the rendition executed on July 1973 in Munich. It is quite an opposition to most frequent romantic-style, highly elevated in volume, expression and emotional meaning performances. Does not mean that something is missing here. Selectivity of the sound, ideal articulation and rhythmic perfection gives this rendition the full spectrum of emotional and semantic contents of the work. Conductor of this performance, Kurt Eichhorn did an excellent job. He connected individual tendencies into bunch of heterogeneous expressions but building them into one dramatic musical narration.
Traditionally there is trio of beautiful solo voices of soprano Lucia Popp, tenor John van Kesteren and baritone Hermann Prey. But this record features also sextet of male voices tenors Karl Kreile, Anton Rosner, Heinrich Weber and basses Paul Hansen, Günter Häussler, Josef Weber. Nice and perfectly sound two choirs Der Chor des Bayerishen Rundfunks and Der Tölzer Knabenchor. Undoubtedly the orchestra has done stunning work. Musicians of Münchner Rundfunkorchester found their place both in various cameral lineups and in luscious orchestral tutti parts. Balancing between expression of individuality and power of massive cooperation helped artists reveal how colorful and complex this score can be. I don’t have any idea if composer himself was engaged in preparing the recording but simple fact he was close in geographic and social meaning had to affect the record image of this work.