#carl orff

[davidhudson]

Carl Orff, July 10, 1895 – March 29, 1982.

[theonlybezo]

When I was a kid, I saw the movie Young Sherlock Holmes. It wasn't particularly good, but there's this scene where this evil choir sings an evil song about some big evil guy or whatever.

This is the song. I never remembered anything about the movie except for this song, because I thought it was so cool.

Anyway, years later I was in the Calgary Philharmonic Chorus (basically the companion choir to the Calgary Philharmonic Orchestra) and we were pairing with Alberta Ballet to do Carl Orff's Carmina Burana. This was in the late 90s or something.

Now if you've ever heard Carmina Burana, you know it starts and ends with the same song, O Fortuna. You've definitely heard it. They used it in a bazillion movie trailers.

Now, I didn't think about Young Sherlock Holmes when I was doing O Fortuna. I never thought about Young Sherlock Holmes. And it wasn't like I could fire up the internet and be like, hey, uh, this song is definitely a Jimmy Hart version of O Fortuna. But it totally is.

If you aren't familiar with the term Jimmy Hart version, it's the former trope name on TV Tropes of what is now termed Suspiciously Similar Song, names after pro wrestling manager and entrance theme composer Jimmy Hart, who (during his time at World Championship Wrestling) wrote pro wrestling theme songs which were basically Nirvana and Pearl Jam songs with the chords in a slightly different order.

Anyway, despite it being a huge ripoff of O Fortuna, I still have a soft spot for the song from Young Sherlock Holmes, and I think it was one of the songs that set me on the path to loving evil-sounding music.

[kdo-three]

Carl Orff ~ ”Carmina Burana” - No. 25 ~ Fortuna Imperatrix Mundi - O Fortuna (Reprise) (1975) Composer: Carl Orff | Composed in 1935 and 1936

Cantata | Classical Music | Modern Classical Music

Tumblr (left click = play) (320kbps)

JukeHostUK (left click = play) (320kbps)

Personnel: Conductor: Andre Previn Orchestra: The London Symphony Orchestra Chorus: St. Clement Danes Grammer School Boys’ Choir Vocals: Sheila Armstrong Gerald English Thomas Allen

Produced by Christopher Bishop

Recorded: @ Kingsway Hall in London, England UK November 25, 1974 - November 27, 1974

Released: in 1975 EMI Electrola Die Stimme seines Herrn (German imprint of “His Master’s Voice”)

+++ +++ +++

Carl Orff's "O Fortuna" from Carmina Burana is widely used in popular culture, often in an abbreviated form, to evoke a sense of immense or catastrophic drama, and specifically for evil, horror, and Halloween-related themes. - Google AI

+++ +++ +++

[hayleylovesjessica]

It's my birthday weekend, so I'm dragging my partner to hear our symphony orchestra tonight. The main work on the program is Orff's Carmina Burana, which should be fun.

[de-salva]

Visit Original Link

CARL ORFF - Dulcissime

[sovexedtofind]

O Fortune, like the moon you are changeable, ever waxing ever waning; hateful life first oppresses and then soothes playing with mental clarity; poverty and power it melts them like ice.

Fate – monstrous and empty, you whirling wheel, you are malevolent, devoid of security and ever fading to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back to your villainy.

Fate, in health and virtue is against me, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong, everyone weep with me!

[leniofthevalley]

Nobody asked but here’s every movement of Carmina Burana ranked extremely subjectively by how much fun I have while singing them (note that I’m a soprano, this will bias my results towards the movements that are fun for sopranos)

1. Movements 1&25 (O Fortuna): Look man I don’t want to be basic but it’s iconic for a reason, the energy is insane and you get the feeling that the audience is in the palm of your hand, the dynamic change from the intense whispery section to full out fortissimo makes me feel like a god

2. Movement 9 (Reie): has literally everything, super fun fast accented parts with a nice full sound and then the sweetest simplest melody that reminds me of a lullaby I love this movement so so much

3. Movement 20 (Veni, veni venias): SO much fun I love how fast and intense it is and the ping ponging between parts, the ending stresses me out a little ngl but it’s worth it

4. Movement 18 (Circa mea pectora): the quick parts remind me of when I sang in “The cunning little vixen” so it gives me nostalgia feels and the “niet” scoops at the end are one of my favorite moments of the whole thing

5. Movement 8 (Chramer, gip die varwe mir): so fun it reminds me of a folk song or a dance and the humming parts are really pretty and keep the movement feeling dynamic and interesting

6. Movement 22 (Tempus est iocundum): I have so much fun when I’m singing and the parts with the children’s chorus hit me right in the nostalgia feels but I’m not really a fan of the baritone solo parts which drags this one down unfortunately

7. Movement 19 (Si per cum puellula): So fun to listen to the lower voices absolutely kill it but I don’t get to sing :(

8. Movement 5(Ecce Gratum): A bit repetitive by the time it gets to the third verse but generally really fun vibes, I feel like there should be like little bunnies and cute woodland creatures frolicking onstage during this movement

9. Movement 10 (Were diu werlt alle min): the beginning is kind of christmasy to me for some reason lol, I really enjoy the malisma at the end

10. Movement 3 (Primo vere): I love a good chant and this is a lovely one but it lacks the wow factor fun moment that some other movements have

11. Movement 23 (Dulcisse): so so so pretty but it’s only 4 measures 😭

12. Movement 2 (Fortune plango vulnera): kind of dull but at least it’s not too long so it doesn’t overstay its welcome and the ending is nice and full

13. Movement 7 (Floret Silva): has a few pretty harmonic moments but overall just feels really dull and entirely longer than it needs to be. The whole time I’m singing I’m waiting for it to be over

14. Movement 24 (Banziflor et Helena): man I wish I could enjoy this one more but it’s SO exhausting coming right at the end with all those high notes, and the high B at the end? genuinely kind of painful to sing, I dread it for the whole movement

15. Movement 4 (Omnia sol temperat): just a baritone solo I don’t even get to sing 😔

16. Movements 11-17: I do not get to sing I just have to sit there for seven movements and listen to the tenors and basses have all the fun ☹️

17. Movement 6 (Dance): Nobody sings so it’s automatically the worst one (this is a joke i love and appreciate the hard work of the orchestra)

[julio-viernes]

Escuchaba "Catulli Carmina" de Carl Orff y me asaltó una clara visión, una chispa sparkiana. Es una cantata escénica compuesta por Orff en 1943, parte de una trilogía que incluye "Carmina Burana" y "Trionfo di Afrodite", basada en textos del poeta latino Catulo y compuesta para voces, coro, percusión y orquesta.

Es una obra sorprendente caracterizada por la repetición obsesiva de frases rítmicas y melódicas; ritmos contundentes y percusivos, textos sensuales, apasionados, a veces eróticos; y estructuras minimalistas, casi hipnóticas, que pueden recordar la dinámica musical seguida por Sparks en el Siglo XXI, sólo que Orff era más tenso, intenso y lunático.

Aunque los hermanos Mael no han citado a Orff, o "Catulli Carmina" en concreto, como fuente de inspiración, es sabido su amor por la música clásica, la ópera, el teatro y su constante juego con lo repetitivo, y no sería descabellado pensar que podrían conocer su obra o, al menos, tuvieran influencias comunes. Esto no significa que Sparks hayan imitado a Orff, pero ciertas, evidentes, similitudes estéticas apuntan a una afinidad espiritual o artística.