CARMINA BURANA: Why does that sound familiar?
By Eva Kahn
You probably know the first five chords of Carl Orff’s legendary Carmina Burana. They’re featured prominently in the movie Jackass, the song “Hate Me Now” by rappers Nas and Puff Daddy, a vintage commercial for Old Spice aftershave, and dozens of radio and TV promotions. While you’ve likely heard these notes in many forms of popular entertainment, you may not have heard the story of what inspired them: the scandalous writings of some mischievous monks and a revolutionary composer who turned those musings into music.
Let’s start at the very beginning…
The story of composer Carl Orff’s magnum opus begins with a band of monks-in-training living in the 13th century Bavarian Alps. The Goliards, as they came to be known, wrote poetry and music in their free time, but not the kind you would expect from clergymen. These rebellious writings satirized the Catholic Church, made a mockery of morals, and indulged explicitly in the pleasures of women and wine. It is unclear whether the clerical students wrote to revolt, or wrote to satisfy their worldly desires before they resigned themselves to a life of asceticism. Discovered in 1803, historians took these poems and their illustrations of self-indulgence as an accurate historical depiction of life in a 13th-century abbey.
“It’s a spectacle. It’s very hard to categorize, and that was Orff’s intent, really.”
— Marin Alsop, music director of the Baltimore Symphony Orchestra
Orff stumbled upon the manuscript of these poems in the 1930s, forever changing the course of his career. Born in 1895 Germany, Orff matured just before the Nazis came to power in the early 20th century and began his career developing musical pedagogy techniques for the Hitler Youth. Though his early music had avant-garde tendencies, under Hitler, he desperately tried to smother his leftist, modernist, and Jewish identity by creating music that reveled in folk tunes and fit the narrow cultural curtailments imposed by the regime. Little is known about Orff’s early works because, upon the premier of Carmina Burana in 1937, Orff ordered all of his other works that had “unfortunately” been published to be destroyed.
Who’s on stage?
Orff composed the score for no fewer than two full choirs, a boys’ choir, and a full orchestra including five timpani, three glockenspiels, and two pianos. Orff also intended the piece to be performed with dance and theatrical elements.
Ted Libbey, NPR’s classical music expert, says of this experience:
“Orff’s Carmina Burana invites the performer and listener alike to participate in the hedonistic enjoyment of rhythmically catchy and frequently repeated tunes, as well as equally simple forms, consonant harmony, powerful singing and colorful scoring marked by unstinting use of percussion.”
The score itself displays a range of influences, from monophonic Gregorian chants to Stravinksy’s polyrhythms.
Carmina Burana is comprised of three sections, Springtime, In the Tavern, and Court of Love, which are sandwiched between a prologue and epilogue. Springtime celebrates the contagious optimism that comes with the exaltation of rebirth. In the Tavern, sung entirely by men, evokes a rowdy beer hall complete with the pleasures of drinking. Court of Love basks in lustful love and sexually enticing lyrics (in Latin, of course). In contrast to these primitive sentiments are the majestic prologue and epilogue, which warn of the power of ever-impending fate.
“I think the word excess probably captures this piece. And I think that again draws people in because there’s something about talking about the excesses in life and the edges that is very appealing.”
— Marin Alsop, music director of the Baltimore Symphony Orchestra
What’s the big idea?
Orff considered himself somewhat of a philosopher; he designed music that not only connects the physical and spiritual worlds but also amalgamates intellect and instinct. Moreover, Orff strove to write the music of the “modern man” by stripping away the elements of extravagant, Romantic-style opera. Of this intention, Orff wrote, “The simpler and more reduced to essentials a statement is, the more immediate and profound its effect.”
Yet, Carmina Burana is all about extremes and excess. As it turns out, Orff is only as hypocritical as the 13th century Goliards. Through Carmina Burana and its elaborateness, Orff comments on — and, perhaps, mocks — the popular tastes in music of his time. Not unlike some 13th-century holy men who had some fun with words…
Stay tuned! Next week, hear from Ballet Austin’s Artistic Director Stephen Mills on how he transforms this musical masterpiece into movement.
BALLET AUSTIN in CARMINA BURANA
Featuring the GRAMMY® Award-winning Conspirare Symphony Choir
With live music by the Austin Symphony Orchestra
FOUR SHOWS ONLY — Sept. 20–22
The Long Center
Tickets starting at $15 at balletaustin.org
Sources
Classic FM. “The Story Of Carl Orff’s Carmina Burana.” 17 July 2018. https://www.classicfm.com/composers/orff/guides/story-behind-orffs-carmina-burana/
Libbey, Ted. “‘Carmina Burana,’ Music Of Monks And Drunks.” National Public Radio. April 27, 2009. https://www.npr.org/2011/07/18/103529038/carmina-burana-music-of-monks-and-drunks
Music and the Holocaust. “Carl Orff.” http://holocaustmusic.ort.org/politics-and-propaganda/third-reich/orff-carl/?chash=2b360c8f175bcc189d444772685147c4&fb_locale=es_es&cHash=a3be00022f9f6e477f7538a798188b7a
National Public Radio. “The Lasting Appeal of Orff’s ‘Carmina Burana.’” November 11, 2006. https://www.npr.org/templates/story/story.php?storyId=6471891
Rodda, Richard E. “Carmina Burana.” The Kennedy Center. https://www.kennedy-center.org/artist/composition/2728
