Season 201220- 13 - Philadelphia Orchestra · O Fortuna (chorus) This program runs approximately 2 hours. 24 ... Mr. Frühbeck studied violin, piano, music theory, and composition

The Philadelphia Orchestra

Rafael Frühbeck de Burgos ConductorDavid Bilger TrumpetErin Morley SopranoNicholas Phan TenorHugh Russell BaritoneThe Philadelphia Singers ChoraleDavid Hayes Music DirectorThe American BoychoirFernando Malvar-Ruiz Music Director

Haydn Symphony No. 1 in D major I. Presto II. Andante III. Finale: Presto

Hummel Trumpet Concerto in E major I. Allegro con spirito II. Andante III. Rondo

Intermission

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Season 2012-2013Thursday, February 14, at 8:00Friday, February 15, at 2:00Saturday, February 16, at 8:00

Program continued

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Orff Carmina burana Fortuna Imperatrix Mundi: 1. O Fortuna (chorus) 2. Fortune plango vulnera (chorus) I. Primo vere: 3. Veris leta facies (small chorus) 4. Omnia sol temperat (baritone) 5. Ecce gratum (chorus) Uf dem Anger: 6. Tanz (orchestra) 7. Floret silva nobilis (chorus) 8. Chramer, gip die varwe mir (soprano and small chorus) 9. Reie: (a) Swaz hie gat umbe (chorus) (b) Chume, chum geselle min (small chorus) (c) Swaz hie gat umbe (chorus) 10. Were diu werlt alle min (chorus) II. In Taberna: 11. Estuans interius (baritone) 12. Olim lacus colueram (tenor and male chorus) 13. Ego sum abbas Cucaniensis (baritone and male chorus) 14. In taberna quando sumus (male chorus) III. Cour d’amours: 15. Amor volat undique (soprano and boys chorus) 16. Dies, nox et omnia (baritone) 17. Stetit puella (soprano) 18. Circa mea pectora (baritone and chorus) 19. Si puer com puellula (male chorus) 20. Veni, veni, venias (double chorus) 21. In truitina mentis dubia (soprano) 22. Tempus est iocundum (soprano, baritone, chorus, and boys chorus) 23. Dulcissime (soprano) Blanziflor et Helena: 24. Ave formosissima (chorus) Fortuna Imperatrix Mundi: 25. O Fortuna (chorus)

This program runs approximately 2 hours.

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3 Story Title

The Philadelphia Orchestra

Renowned for its distinctive sound, beloved for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in music-making, The Philadelphia Orchestra is one of the preeminent orchestras in the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. With the 2012-13 season, Yannick Nézet-Séguin becomes the eighth music director of The Philadelphia Orchestra. Named music director designate in 2010, Nézet-Séguin brings a vision that extends beyond symphonic music into the

vivid world of opera and choral music.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center for the Performing Arts but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Philadelphia Orchestra Association also continues to own the Academy of Music—a National Historic Landmark—as it has since 1957.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia

Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail Valley Music Festival.

The ensemble maintains an important Philadelphia tradition of presenting educational programs for students of all ages. Today the Orchestra executes a myriad of education and community partnership programs serving nearly 50,000 annually, including its Neighborhood Concert Series, Sound All Around and Family Concerts, and eZseatU.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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ConductorThe 79-year-old Rafael Frühbeck de Burgos made his American debut with The Philadelphia Orchestra on Valentine’s Day in 1969. Since then he has led the Philadelphians in more than 150 performances. A regular guest with all of North America’s top orchestras, he conducts the New York and Los Angeles philharmonics and the Boston, Cincinnati, Pittsburgh, Detroit, and Toronto symphonies in the 2012-13 season. He appears annually at the Tanglewood Music Festival and regularly with the Chicago and National symphonies. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic. This is his first season as chief conductor of the Danish National Orchestra.

Born in Burgos, Spain, Mr. Frühbeck studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid; he studied conducting at Munich’s Hochschule für Musik where he graduated summa cum laude and was awarded the Richard Strauss Prize. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, including the Gold Medal of the City of Vienna; Germany’s Order of Merit; the Gold Medal from the Gustav Mahler International Society; and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Mr. Frühbeck was appointed emeritus conductor of the Spanish National Orchestra. He has an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando in Madrid.

Mr. Frühbeck has made tours with ensembles including London’s Philharmonia, the London Symphony, the National Orchestra of Madrid, and the Swedish Radio Orchestra. He has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Mr. Frühbeck has recorded extensively for EMI, Decca, Deutsche Grammophon, Spanish Columbia, and Orfeo. Several of his recordings are considered to be classics, including his interpretations of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Spanish composer Manuel de Falla.

Steve J. S

herman

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SoloistsDavid Bilger, principal trumpet of The Philadelphia Orchestra since 1995, holds a master’s degree from the Juilliard School and a bachelor’s degree from the University of Illinois. Prior to joining the Orchestra he was principal trumpet of the Dallas Symphony. As a soloist he has appeared with The Philadelphia Orchestra; the Dallas, Houston, and Oakland symphonies; the Chamber Orchestra of Philadelphia; and the Indianapolis Chamber Orchestra, among others. He has performed recitals in major cities across the U.S. and his chamber music appearances include the Chamber Music Society of Lincoln Center, with which he recorded Bach’s Second Brandenburg Concerto, Chamber Music Northwest, Saint Luke’s Chamber Ensemble, and guest appearances with the Canadian Brass and the Empire Brass. He recently released a recording of music for trumpet and synthesizers with composer Meg Bowles. Mr. Bilger is on the faculties of the University of Georgia’s Hugh Hodgson School of Music, the Curtis Institute, and Temple University. He has performed master classes at dozens of institutions and has also taught at the Pacific Music Festival, the National Orchestral Institute, and the Aspen Music Festival and School.

A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, soprano Erin Morley has sung several roles at the Met, including Echo in Strauss’s Ariadne auf Naxos, the Daughter in Shostakovich’s The Nose, Woglinde in Wagner’s Das Rheingold and Götterdämmerung, and the Forest Bird in Wagner’s Siegfried. She returns to the Met this spring as Sister Constance in Poulenc’s Dialogues of the Carmelites. Recently she sang her first Gilda in Verdi’s Rigoletto. Ms. Morley has appeared with the New York Philharmonic; the Cleveland Orchestra; the Chicago, Houston, Salt Lake, and Utah symphonies; and the Orchestra of St. Luke’s. On the opera stage her roles include Marguerite de Valois in Meyerbeer’s Les Huguenots, Roxana in Szymanowski’s King Roger, the Queen of the Night in Mozart’s The Magic Flute, Sophie in Strauss’s Der Rosenkavalier, Giannetta in Donizetti’s The Elixir of Love, Laoula in Chabrier’s L’Étoile, and Frasquita in Bizet’s Carmen. Ms. Morley earned her master’s degree and completed her artist diploma at Juilliard and her bachelor’s degree from the Eastman School of Music. This is her Philadelphia Orchestra debut.

Joanne Bening

Dario A

costa

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SoloistsAmerican tenor Nicholas Phan made his Philadelphia Orchestra debut in 2011. This season he appears with the New York Philharmonic; the Cleveland Orchestra; the San Francisco, Cincinnati, and Lucerne symphonies; and the Los Angeles Chamber Orchestra. He also returns to Portland Opera as Fenton in Verdi’s Falstaff and makes his Bolshoi debut in a concert performance of Handel’s Hercules. Mr. Phan’s recent performances include his Seattle Opera debut as Count Almaviva in Rossini’s The Barber of Seville, debuts at Glyndebourne and the Maggio Musicale in Florence, and appearances with New York City Opera, Los Angeles Opera, Houston Grand Opera, Glimmerglass Opera, the Deutsche Oper am Rhein, and Frankfurt Opera. He is also artistic director of the Collaborative Arts Institute of Chicago, an organization devoted to promoting the vocal chamber music repertoire. Mr. Phan’s discography includes Winter Words (AVIE) and a Grammy-nominated recording of Stravinksy’s Pulcinella with the Chicago Symphony (CSO Resound). His latest album, Still Falls the Rain (AVIE), was released in October and features Philadelphia Orchestra Principal Horn Jennifer Montone.

Canadian baritone Hugh Russell made his Philadelphia Orchestra debut in 2008; he has also performed with the Cleveland Orchestra; the Los Angeles Philharmonic; and the San Francisco, Houston, Detroit, Pittsburgh, Seattle, Toronto, Vancouver, and National symphonies, among others. This season he makes his debut with the Danish Radio Symphony and appears with the Madison Symphony and the Opera Theatre of Saint Louis. Mr. Russell has performed at the New York City Opera and at Los Angeles Opera. He was an Adler Fellow and a member of the Merola Opera Program at San Francisco Opera, where he sang in Strauss’s Ariadne auf Naxos and Messiaen’s Saint Francis of Assisi. He was also a member of the Pittsburgh Opera Center, where he appeared as Malatesta in Donizetti’s Don Pasquale, Pelleas in Debussy’s Pelleas and Melisande, and Guglielmo in Mozart’s Così fan tutte. Other engagements have included the Pilot in Rachel Portman’s The Little Prince with Boston Lyric Opera, Taddeo in Rossini’s The Italian Girl in Algiers with Vancouver Opera, and Eisenstein in Johann Strauss’s Die Fledermaus with Arizona Opera. He is a graduate of the Oberlin Conservatory of Music.

Balance P

hotographyLarry Lapidus

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ChorusesCelebrating its 40th anniversary this season, the Philadelphia Singers is a professional chorus with a mission to preserve and strengthen America’s rich choral heritage through performances, commissions, and music education. The chorus performs regularly with such organizations as The Philadelphia Orchestra, the New York Philharmonic, the Curtis Institute of Music, the Philadelphia Chamber Music Society, Kimmel Center Presents, and the Mannes Orchestra. In 1991 the Philadelphia Singers founded the Philadelphia Singers Chorale, a symphonic chorus composed of professional singers and talented volunteers, and the ensemble made its Philadelphia Orchestra debut in 1992. The Chorale was resident chorus of the Orchestra from 2000 to 2011. David Hayes was appointed music director of the Philadelphia Singers in 1992. Music director of the Mannes Orchestra of the Mannes College of Music in New York, he is also staff conductor of the Curtis Symphony. Mr. Hayes studied conducting with Charles Bruck at the Pierre Monteux School and with Otto-Werner Mueller at the Curtis Institute of Music.

The American Boychoir was founded in Columbus, Ohio, in 1937 and has been located in Princeton since 1950. Boys in grades four through eight from around the world pursue a rigorous musical and academic curriculum at the only non-sectarian boys’ choir in the nation while also maintaining an active touring schedule. The Boychoir made its Philadelphia Orchestra debut in 1952 and has performed with such ensembles as the Boston Symphony, the New York Philharmonic, the Royal Concertgebouw Orchestra, and the Staatskapelle Berlin. They have also appeared at the Academy Awards, at Carnegie Hall with Paul McCartney, and with soprano Jessye Norman, trumpeter Wynton Marsalis, and Beyoncé. The American Boychoir is under the leadership of Litton-Lodal Music Director Fernando Malvar-Ruiz. A native of Spain, Mr. Malvar-Ruiz earned his undergraduate degree from the Madrid Royal Conservatory, holds a master’s degree in Choral Conducting from Ohio State University, and has completed all coursework toward a doctoral degree in musical arts from the University of Illinois. The American Boychoir records extensively on its own label, Albemarle Records.

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Framing the ProgramMany composers agonize long and hard before writing a first symphony, in some cases delaying such a grand statement for decades. Not so Franz Joseph Haydn, who composed the first of his more than 100 symphonies when he was in his mid-20s; he did so when called upon for such a work by his wealthy employer. Over the next 40 years, Haydn was the one who brought the genre to prominent artistic status. It is for this reason that he is justly (if not historically accurately) known as the “Father of the Symphony” and today we have the rare opportunity to hear his exciting first symphonic child.

While Johann Nepomuk Hummel is hardly a household name today, this student of Mozart and friend of Beethoven was very highly regarded in his own time. We hear on this concert a composition that has helped bring him back into the modern orchestral repertoire, a brilliant Trumpet Concerto that reveals his stylistic position between the Classical and Romantic eras.

Carl Orff’s Carmina burana is among a handful of imposing 20th-century compositions that has established a firm place in the concert repertory while also being enthusiastically embraced by popular culture. This grand choral extravaganza, based on medieval poems, encompasses a wide range of themes, from the bawdy to the elevated, beginning with the famous invocation to Fortune.

Parallel Events1759HaydnSymphony No. 1

1803HummelTrumpet Concerto

1935OrffCarmina burana

MusicAbelSymphony in GLiteratureVoltaireCandideArtGainsboroughSelf-PortraitHistoryMt. Vesuvius erupts

MusicBeethovenSymphony No. 3LiteratureSchillerDer Braut von MessinaArtWestChrist Healing the SickHistoryLouisiana Purchase

MusicShostakovichSymphony No. 4LiteratureAudenOn this IslandArtEpsteinEcce HomoHistorySpanish Civil War begins

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30A

The MusicSymphony No. 1

Franz Joseph HaydnBorn in Rohrau, Lower Austria, March 31, 1732Died in Vienna, May 31, 1809

First symphonies were not always a big deal for composers, although they became ever more so as the stature of the genre evolved in the 19th century. Brahms took more than 20 years to write his. For him, as for Beethoven and Berlioz before or Mahler and Elgar after, a first symphony was a significant artistic statement. For some composers, however, it was more in the nature of an educational exercise: Mozart wrote his first symphony at age eight and Schubert his at 15. Which brings us to Franz Joseph Haydn, the one often credited with having started it all and who has long been hailed as the “Father of the Symphony.” While that reputation may be artistically well deserved, it is not historically accurate. Yet even if Haydn did not “invent” the symphony (as with more justice one could say he did the string quartet) he is nonetheless its lauded “Father,” the composer who elevated the genre to a new artistic status and who established the standards and practices that Mozart, Beethoven, and countless subsequent composers would both follow and break.

The Path to the Symphony Haydn came to the symphony in the late 1750s, when he was in his mid-20s. This was actually rather late as he had already written a great deal of other kinds of music. Over the course of the next 40 years he nonetheless composed more than a hundred symphonies. Haydn’s output at any given point in his career tended to reflect the demands of his job at the time. He spent most of his professional life in the service of an exceeding rich family—the Esterházys—that had estates spread over the Austro-Hungarian Empire. Today we hear what appears to be Haydn’s earliest symphony; at least Haydn himself thought so and thus informed his first biographers. There is evidence that one or more may have preceded it that Haydn had forgotten about when he was later asked about his earliest efforts.

Haydn apparently composed this Symphony in D major in 1759, by which point he was already an experienced composer. His break came when he was hired by one Count Morzin, for whom he worked some four years as Kapellmeister for the family’s palaces in Bohemia and Vienna. The Count wanted symphonies written for his private orchestra and so for the first time Haydn had reason to write them.

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At the Request of a Count The post of Kapellmeister—basically, music director—put Haydn in charge of a small orchestra, and it was for this ensemble that he composed his earliest symphonies. There are about 15 such works dating from the Morzin period, although they do not follow the standard numbering of Haydn’s symphonies as catalogued in 1907. The genre of the symphony had been developed earlier in the 18th century by figures such as Giovanni Battista Sammartini and Johann Stamitz. Some of the most prominent composers were connected with the city of Mannheim, which boasted the leading orchestra of the day.

The early symphonic form was closely allied to opera overtures (in Italian a sinfonia), which were usually in three movements. Most of Haydn’s initial symphonies, including the one we hear today, employ such an overture layout: a fast sonata-form movement, a slow movement scored for strings alone, and a fast finale in 3/8 meter. The scoring of these works was quite modest, as the private orchestras of Count Morzin and Esterházy generally ranged from just about a dozen to two dozen musicians. Haydn scored his First Symphony for a small contingent of strings together with two oboes and two horns. Harpsichord and a bassoon provide harmonic support together with the lower strings.

A Closer Look One of the effects for which the Mannheim composers were best known was the so-called Mannheim rocket (or crescendo), an attention getter that prepared the audience for the piece to follow. For the first movement (Presto) of his First Symphony Haydn may well have found a specific model in an opera overture in the same key by Florian Gassmann (teacher of Antonio Salieri, now most remembered for supposedly murdering Mozart). A rising theme in the violins starts softly and quickly builds in pitch and sound over a repeated tonic note D. The writing for the upper strings becomes particularly virtuosic, with many rapid scales, and has the sort of intensity one associates with earlier Baroque concertos. The string second movement (Andante) is more polite and calm, with playful shifts in dynamics and unexpected syncopations. The oboes and horns return for the very brief finale (Presto) that features a rising D-major triadic theme as its buoyant basis.

—Christopher H. Gibbs

Haydn composed his First Symphony in 1759.

Rafael Frühbeck de Burgos was on the podium for the first Philadelphia Orchestra performances of the work, in November 1982. Since then the Symphony has been heard only one other time on the Orchestra’s programs, in April 1995, with Mark Wigglesworth.

The piece is scored for two oboes, one bassoon, two horns, harpsichord, and strings.

Performance time is approximately 11 minutes.

30B

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The MusicTrumpet Concerto in E major

Johann Nepomuk HummelBorn in Pressburg (now Bratislava), November 14, 1778Died in Weimar, October 17, 1837

In his magisterial volume The Classical Style, Charles Rosen notes, “It is only in the works of Haydn, Mozart, and Beethoven that all the contemporary elements of musical style—rhythmic, harmonic, and melodic—work coherently together, or that the ideals of the period are realized on a level of any complexity.” Rosen characterizes the music of Johann Nepomuk Hummel as “post-classical” in its reliance on “virtuoso passagework.” Rosen, who calls Hummel a “fine musician,” aptly summed up his historical position by observing that he “belongs, in his musical outlook, to the age of Rossini, not to the age of Haydn and Mozart; the development of Beethoven who carried on the classical tradition against the current of his time must have been incomprehensible to him.”

A Bridge between Styles As Rosen implies, Hummel represents a historical bridge between the Classical style of Mozart and the early Romanticism of Weber and Rossini. Indeed, Hummel studied with Mozart, virtually living in his teacher’s apartment in Vienna for two years starting at the age of eight. Remembering his own experience as a child prodigy, Mozart clearly felt a special kinship with little Johann Neopmuk, whose precocious musical gifts were evinced at a very early age. Mozart sponsored his pupil’s debut during one of his own concerts in 1787; after this immensely successful performance, Hummel progressed from strength to strength. Accompanied by his father, the young Hummel traveled all over Europe on extended concert tours, studying with the revered pianist Muzio Clementi (1752-1832) in London and having a string quartet applauded in Oxford. Upon his return to Vienna in 1793, he studied diligently with Johann Georg Albrechtsburger (1736-1809), who was teaching Beethoven at the time as well. By 1804 Hummel had succeeded Haydn as Kapellmeister to the princely Esterházy family. Until the onset of the ill health that blighted his final years in Weimar, he was celebrated both as a brilliant pianist and as a composer whose impeccable craftsmanship, melodic invention, and formal balance made him a rival to Beethoven in the opinion of many of his contemporaries. By the time of his death, however, the fashionable

30C

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Hummel composed his Trumpet Concerto in 1803.

The first, and only other, Philadelphia Orchestra performance of the Concerto was in June 1990 at the Mann Center, with trumpeter Håkan Hardenberger and Charles Dutoit.

The score calls for flute, two oboes, two clarinets, two bassoons, two horns, timpani, and strings, in addition to the solo trumpet.

The work lasts approximately 20 minutes in performance.

brilliance of younger pianists and composers eclipsed his once shining fame, and his work slid into obscurity.

Due to an accident of history, Hummel’s reputation was rehabilitated in the mid-20th century in large part due to the rediscovery of his coruscating Concerto for Trumpet in E major. (Today we’ll hear the revised 2007 second edition in E-flat major, edited by Clark McAlister, who undertook the transposition in response to the continuing demand for a version in that key.) In 1958 a student at Yale University, Merrill Debsky, who was searching for a suitable piece to play on his trumpet recital, ordered a copy of Hummel’s Concerto from the British Library. Alas, the music failed to arrive in time. When the Concerto was finally delivered, Debsky sent it on to the trumpet virtuoso Armando Ghitalla, who recognized its quality at once. Ghitalla made the first recording of the score in 1964 with Pierre Monteux conducting the Boston Chamber Ensemble. Ghitalla’s recording established Hummel’s score alongside Haydn’s Concerto in E-flat (1796), as one of the cornerstones of the trumpet repertory.

Hummel completed his Concerto on December 8, 1803; Anton Weidinger premiered the new work just a few weeks later at a gala concert held in Vienna on New Year’s Day, 1804.

A Closer Look As Rosen cannily observed, Hummel’s style gradually moved from the poise of Mozart towards the exuberance of Rossini. Throughout this Concerto, alert listeners will hear echoes of stylistic traits found in the music of both composers. The first movement Presto begins with a theme reminiscent of the vaunting opening of Mozart’s Symphony No. 35 (“Haffner”), while the dotted rhythms of the second theme have an insouciant swagger redolent of an aria from a comic opera by Rossini. The Andante has often been justly described as “operatic,” an appropriate description for a soulful movement written by a composer whose catalogue contains nine operas. But the gently throbbing triplets that accompany the trumpet as it sings a gorgeous melody may remind listeners of another “operatic” andante, the celebrated second movement of Mozart’s Piano Concerto No. 21, K. 467. The finale of Hummel’s lovable Concerto is a Rondo of infectious jollity, a romp that concludes with a burst of high spirits worthy of Rossini.

—Byron Adams

30D

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The MusicCarmina burana

Carl OrffBorn in Munich, July 10, 1895Died there, March 29, 1982

Orff was 41 years old when he completed Carmina burana, the piece he designated as his first “real” composition—disregarding, in the process, all of his previous works. Up to that time he had become known not only as a composer and conductor, but also as the founder of a new concept in musical pedagogy. The “Orff Method,” which is still prevalent today (especially in Bavaria), employs rhythm as an innovative central focus, a movement-oriented means for teaching of melodic and harmonic principles. This rhythmic emphasis is prevalent throughout Orff’s compositions, and is a salient feature of Carmina burana, his most spectacularly popular work, and one of the most durable choral works of the century.

Texts on Religion, Love, and Mankind The songs of the Carmina collection, which are a part of the oral tradition of Alpine Bavaria, combine in a fresh manner the subjects of religion, love, and mankind living in society. Texts are derived from various traditions; subsequent research has revealed that a number of the melodies notated in the original began as drinking and love songs, though Orff did not know this at the time.

The composer initially conceived Carmina as a sort of stage work, to be performed with sets, costumes, and movement. Early performances often included lavish stagings; today the piece is most often performed in the concert hall, with no staging at all. Its first performance on Frankfurt’s Städtische Bühne, in June 1937, was a huge success, and it has become one of the 20th century’s most celebrated compositions.

A Closer Look The famous “Fortuna” chorus, familiar to many through its use in television and films, is followed by the vivid “Veris leta facies,” a sort of sound-impression of the onset of spring. After a veritable paean to the season, the dance “sets” start in the next large-scale section (beginning at No. 6), Uf dem Anger. Orff uses words and word-fragments to create the impetus for driving rhythmic pulses; chorus and soloists take on an almost instrumental character. This spring peasant festival is followed by the drunken strains of “In Taberna,” which is at once ironic and genuinely “pagan” in its inspiration.

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After drink comes love. Beginning with No. 15 (“Amor volat undique”), Orff’s music becomes subtly sensuous, even innocent, while at the same time revealing a mature wisdom about such matters. The “Blanziflor et Helena” chorus (No. 24) is a final Dionysian tribute to sensuality; the work closes with a reiteration of the opening chorus, a declaration of destiny’s final arbitrary command of love, life, and death.

The composer has written the following comments about the piece:

“Fortuna” smiled upon me when she brought into my hands a catalog from a Würzburg rare book shop, where I found a title that drew me in with an almost magical power: Carmina Burana / Latin and German Songs and Poems / from a 13th-Century Manuscript from Benediktbeuern / edited by J.A. Schmeller. This manuscript had been kept in the Benediktbeuern Monastery until it was brought to the Royal Court Library in Munich, in the wake of the secularization of the Bavarian monasteries. It was given its name Carmina burana—songs from Benediktbeuern—by its editor, the estimable archivist Johann Andreas Schmeller, who had first published it in 1847.

I received the volume on Maundy Thursday of 1934, a day that is still memorable to me. Upon turning to the first page I found the well-known image of “Fortune with Her Wheel,” and under it the lines “O Fortuna velut luna statu variabilis ...” (O Fortune, like the moon, everchanging).

Image and Word overtook me. Although at the beginning I could familiarize myself only in broad strokes with the contents of the collection, a brand-new work appeared in my imagination—a stage piece with chorus and dancers—simply as a result of the impression of Image and Text. That same day I sketched out a partial draft of the opening “O Fortuna” chorus. After a sleepless night in which I nearly lost myself in the poems, another chorus was born, “Fortune plango vulnera,” and by Easter Morning a third (“Ecce gratum”) had been set to paper.

It wasn’t easy to find one’s way around this codex, with its 250 songs and poems. Most of the poems were in late Latin, but a large number of them were in Middle High German, and some were even in a mixture of Latin texts with Old French refrains. ... I was fully aware that some of the poems in the

Carmina burana was composed from 1935 to 1936.

Thor Johnson conducted the first Philadelphia Orchestra performances of Carmina burana, in Ann Arbor, Michigan, in May 1955; the piece was then presented on a regular subscription program in April 1960, under Eugene Ormandy’s baton. Most recently on subscription, Christoph Campestrini conducted it in March 2008.

The Orchestra recorded the work for CBS in 1960 with Ormandy, soprano Janice Harsanyi, tenor Rudolf Petrak, baritone Harve Presnell, and the Rutgers University Choir.

The score calls for three flutes (II and III doubling piccolo), three oboes (III doubling English horn), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (antique cymbals, bass drum, castanets, chimes, cymbals, glockenspiel, ratchet, sleigh bells, snare drum, suspended cymbal, tam-tam, tambourine, triangle), celesta, two pianos, strings, soprano, tenor, bass, mixed chorus, and boys chorus.

Running time is approximately one hour.

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collections contained neumes ... but I had neither the desire nor the ability to undertake the research necessary to decipher this ancient musical notation. So I interpreted them rather casually. The things that moved me most of all were the sweeping rhythmic drive, the picturesqueness of the poetry, and (not least of all) the unusually concise Latin text.

—Paul J. Horsley

Program notes © 2013. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or Byron Adams.

FORTUNA IMPERATRIX MUNDI

1. ChorusO Fortuna, velut Lunastatu variabilis,semper crescis aut decrescis;vita detestabilisnunc obdurat et tunc curatludo mentis aciem,egestatem, potestatemdissolvit ut glaciem.

Sors immanis et inanis,rota tu volubilis,status malus, vana salussemper dissolubilis,obumbrata et velatamichi quoque niteris;nunc per ludum dorsum nudumfero tui sceleris.

Sors salutis et virtutismichi nunc contrariaest affectus et defectussemper in angaria.Hac in hora sine moracorde pulsum tangite;quod per sortem sternit fortem,mecum omnes plangite!

2. ChorusFortune plango vulnerastillantibus ocellis,quod sua michi munerasubtrahit rebellis.Verum est, quod legiturfronte capillata,sed plerumque sequituroccasio calvata.

In Fortune soliosederam elatus,prosperitatis varioflore coronatus;quicquid enim floruifelix et beatus,nunc a summo corruigloria privatus.

FORTUNE EMPRESS OF THE WORLD

1. ChorusO Fortune! Like the mooneverchangingrising first then declining;hateful lifetreats us badly then with kindnessmaking sport with our desires,causing power and poverty aliketo melt like ice.

Dread destiny and empty fate,an ever-turning wheel,who make adversity and fickle healthalike turn to nothing,in the dark and secretlyyou work against me;how through your trickery my naked backis turned to you unarmed.

Good fortune and strengthnow are turned from me.Affection and defeatare always on duty.Come now pluck the stringswithout delay;and since by fate the strong are overthrownweep ye all with me.

2. ChorusI lament the wounds that Fortune dealswith tear-filled eyesfor returning to the attackshe takes her gifts from me.It is trueas they say,the well-thatched patemay soonest lose its hair.

Once on Fortune’s throneI sat exaltedcrowned with a wreathof Prosperity’s flowers.But from my happyflower-decked paradiseI was struck downand stripped of all my glory.

Please turn the page quietly.

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Fortune rota volvitur:descendo minoratus;alter in altum tolliturnimis exaltatusrex sedet in verticecaveat ruinam!Nam sub axe legimusHecubam reginam.

I. PRIMO VERE

3. Small ChorusVeris leta faciesmundo propinatur,hiemalis aciesvicta iam fugatur.In vestitu varioFlora principatur,nemorum dulcisono,que cantu celebratur.

Flore fusus gremioPhebus novo morerisum dat, hac varioiam stipate flore.Zephyrus nectareospirans it odore;certatim pro braviocurramus in amore.

Cytharizat canticodulcis Philomena,flore rident varioprata iam serena,salit cetus aviumsilve per amena,chorus promit virginumiam gaudia millena.

4. BaritoneOmnia Sol temperatpurus et subtilis,novo mundo reseratfaciem Aprilis,ad Amorem properatanimus herilis,et iocundis imperatdeus puerilis.

Rerum tanta novitasin solemni vereet veris auctoritasiubet nos gaudere,vias prebet solitas,et in tuo verefides est et probitastuum retinere.

The wheel of Fortune turns,dishonored I fall from graceand another is raised on high.Raised to over dizzy heights of powerthe king sits in majestybut let him beware his downfall!For ’neath the axle of Fortune’s wheelbehold Queen Hecuba.

I. SPRINGTIME

3. Small ChorusThe joyous face of springis presented to the world.Winter’s armyis conquered and put to flight.In colorful dressFlora is arrayedand the woods are sweetwith birdsong in her praise.

Reclining in Flora’s lapPhoebus againlaughs merrilycovered with many colored flowers.Zephyr breathes aroundthe scented fragrance;eagerly striving for the prize.Let us compete in love.

Trilling her songsweet Philomel is heardand smiling with flowersthe peaceful meadows lie,a flock of wild birdsrises from the woods;the chorus of maidensbrings a thousand joys.

4. BaritoneAll things are tempered by the Sunso pure and fine.In a new world are revealedthe beauties of April,to thoughts of lovethe mind of man is turnedand in pleasure’s hauntsthe youthful God holds sway.

Nature’s great renewalin solemn springand spring’s examplebid us rejoice;they charge us keep to well-worn paths,and in your springtimethere is virtue and honestyin being constant to your lover.

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Ama me fideliter!Fidem meam nota:de corde totaliteret ex mente totasum presentialiterabsens in remota.Quisquis amat taliter,volvitur in rota.

5. ChorusEcce gratum et optatumver reducit gaudia,purpuratum floret pratum.Sol serenat omnia.Iam iam cedant tristia!Estas redit, nunc receditHyemis sevitia.

Iam liquescit et decrescitgrando, nix etcetera;bruma fugit, et iam sugitver estatis ubera;illi mens est misera,qui nec vivit, nec lascivitsub estatis dextera.

Gloriantur et letanturin melle dulcedinis,qui conantur, ut utanturpremio Cupidinis;simus jussu Cypridisgloriantes et letantespares esse Paridis. UF DEM ANGER

6. Tanz: Orchestra

7. ChorusFloret silva nobilisfloribus et foliis.

Small ChorusUbi est antiquusmeus amicus?Hinc equitavit,eia quis me amabit?

ChorusFloret silva undique,nah mime gesellen ist mir wê.

Small ChorusGruonet der walt allenthalben,wâ ist min geselle alse lange?Der ist geriten hinnen,o wî, wer sol mich minnen?

Love me truly!Remember my constancy.With all my heartand all my mindI am with youeven when far away.Whoever knows such loveknows the torture of the wheel.

5. ChorusBehold the welcome long-awaitedspring, which brings back pleasureand with crimson flowers adorns the fields.The Sun brings peace to all around.Away with sadness!Summer returns, and now departscruel winter.

Melt away and disappearhail, ice, and snow;the mists flee and spring is fedat summer’s breast;wretched is the manwho neither lives nor lustsunder summer’s spell.

They taste delight and honeyed sweetnesswho strive forand gain Cupid’s reward.Let us submitto Venus’s ruleand joyful and proudbe equal to Paris.

ON THE GREEN

6. Dance: Orchestra

7. ChorusThe noble forestis decked with flowers and leaves.

Small ChorusWhere is my oldlong-lost lover?He rode away on his horse.Alas, who will love me now?

ChorusThe forest all around is in flower.I long for my lover.

Small ChorusThe forest all around is in flowerwhence is my lover gone?He rode away on his horse.Alas, who will love me now?


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8. Soprano and Small ChorusChramer, gip die varwe mir,die min wengel roete,da mit ich die jungen manan ir dank der minnenliebe noete.

Seht mich an, jungen man!Lat mich iu gevallen!

Minnet, tugentliche man,minnecliche frouwen!Minne tuot iu hoch gemoutunde lat iuch in hohen eren schouwen.


Wol dir, Werlt, daz du bistalso freudenriche!Ich wil dir sin undertandurch din liebe immer sicherliche.


9. Reie

(a.) ChorusSwaz hie gat umbe,daz sint allez megede,die wellent ân manalle disen sumer gan!

(b.) Small ChorusChume, chum, geselle min,ih enbite harte din,ih enbite harte din,chume, chum, geselle min.

Suzer roservarwer munt,chum uñ mache mich gesunt,chum uñ mache mich gesunt,suzer roservarwer munt.

(c.) ChorusSwaz hie gat umbe,daz sint allez megededie wellent ân manalle disen sumer gan!

10. ChorusWere diu werlt alle minvon deme mere unze an den Rin,des wolt ih mih darben,daz diu chünegin von Engellantlege an minen armen.

8. Soprano and Small ChorusSalesman! Give me colored paint,to paint my cheeks so crimson red,that I may make these bold young men,whether they will or no, to love me.

Look at me, young men all!Am I not well pleasing?

Love, all you right-thinking men,women worthy to be loved!Love shall raise your spirits highand put a spring into your step.


Hail to thee, o world that arein joy so rich and plenteous!I will ever be in thy debtsurely for thy goodness’ sake!


9. Dance

(a.) ChorusThey who here go dancing roundare young maidens allwho will go without a manthis whole summer long.

(b.) Small ChorusCome, come, dear heart of mine,I so long have waited for thee.I so long have waited for thee.Come, come, dear heart of mine!

Sweetest rosy-colored mouth,come and make me well again!Come and make me well again,sweetest rosy-colored mouth.

(c.) ChorusThey who here go dancing roundare young maidens allwho will go without a manthis whole summer long.

10. ChorusIf the whole world were but minefrom the sea right to the Rhinegladly I’d pass it byif the Queen of England fairin my arms did lie.

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II. IN TABERNA

11. BaritoneEstuans interiusira vehementiin amaritudineloquor mee menti:factus de materia,cinis elementisimilis sum folio,de quo ludunt venti.Cum sit enim propriumviro sapientisupra petram poneresedem fundamenti,stultus ego comparorfluvio labenti,sub eodem tramitenunquam permanenti.

Feror ego velutisine nauta navis,ut per vias aerisvaga fertur avis;non me tenent vincula,non me tenet clavis,quero mihi similes,et adiungor pravis.

Mihi cordis gravitasres videtur gravis;iocus est amabilisdulciorque favis;quicquid Venus imperat,labor est suavis,que nunquam in cordibushabitat ignavis.

Via lata gradiormore iuventutis,inplicor et vitiisimmemor virtutis,voluptatis avidusmagis quam salutis,mortuus in animacuram gero cutis.

12. TenorOlim lacus colueram,olim pulcher extiteramdum cignus ego fueram.

Male ChorusMiser, miser!Modo niger et ustus fortiter!

II. IN THE TAVERN

11. BaritoneSeething insidewith boiling ragein bitternessI talk to myself.Made of matterrisen from dustI am like a leaftossed in play by the winds.But whereas it befitsa wise manto build his houseon a rock,I, poor fool,am like a meandering rivernever keepingto the same path.

I drift alonglike a pilotless shipor like an aimless bird.Carried at random through the airno chains hold me captive,no lock holds me fast,I am looking for those like meand I join the depraved.

The burdens of the heartseem to weigh me down;jesting is pleasantand sweeter than the honeycomb.Whatever Venus commandsis pleasant toilshe never dwellsin craven hearts.

On the broad path I wend my wayas is youth’s wont,I am caught up in viceand forgetful of virtue,caring more for voluptuous pleasurethan for my health,dead in spirit,I think only of my skin.

12. TenorOnce in lakes I made my homeonce I dwelt in beautythat was when I was a swan.

Male ChorusAlas, poor me!Now I am black and roasted to a turn!


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TenorGirat, regirat garcifer;me rogus urit fortiter:propinat me nunc dapifer.


TenorNunc in scutella iaceo,et volitare nequeo,dentes frendentes video:


13. BaritoneEgo sum abbas Cucaniensiset consilium meum est cum bibulis,et in secta Decii voluntas mea’stet qui mane me quesierit in taberna,post vesperam nudus egredietur,et sic denudatus veste clamabit:

Baritone and Male ChorusWafna! Wafna!Quid fecisti sors turpissima?Nostre vite gaudiaabstulisti omnia!

14. Male ChorusIn taberna quando sumus,non curamus quid sit humus,sed ad ludum properamus,cui semper insudamus.Quid agatur in taberna,ubi nummus est pincerna,hoc est opus ut queratur,sic quid loquar, audiatur.

Quidam ludunt, quidam bibunt,quidam indiscrete vivunt.Sed in ludo qui morantur,ex his quidam denudantur,quidam ibi vestiuntur,quidam saccis induuntur.Ibi nullus ti met mortem,sed pro Baccho mittunt sortem:

Primo pro nummata vini,ex hac bibunt libertini;semel bibunt pro captivis,post hec bibunt ter pro vivis,quater pro Christianis cunctis,quinquies pro fidelibus defunctis,sexies pro sororibus vanis,septies pro militibus silvanis.

TenorOn the spit I turn and turn;the fire roasts me throughnow I am presented at the feast.

Male ChorusAlas poor me!Now I am black and roasted to a turn!

TenorNow in a serving dish I lieand can no longer fly,gnashing teeth confront me.

Male ChorusAlas poor me!Now I am black and roasted to a turn!

13. BaritoneI am the abbot of Cucanyand I like to drink with my friends.I belong from choice to the sect of Decius,and whoever meets me in the morning at the tavernby evening has lost his clothes,and thus stripped of his clothes cries out:

Baritone and Male ChorusWafna! Wafna!What has thou done, oh wicked fate?All the pleasures of this lifethus to take away!

14. Male ChorusWhen we are in the tavernwe spare no thought for the gravebut rush to the gaming tableswhere we always sweat and strain.What goes on in the tavernwhere a coin gets you a drinkif this is what you would knowthen listen to what I say.

Some men gamble, some men drinksome indulge in indiscretions,but of those who stay to gamblesome lose their clothes,some win new clothes,while others put on sack cloth,there no one is afraid of deathbut for Bacchus plays at games of chance.

First the dice are thrown for wine:this the libertines drink.Once they drink to prisoners,then three times to the living,four times to all Christians,five to the faithful departed,six times to the dissolute sisters,seven to the bush-rangers.

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Octies pro fratribus perversis,nonies pro monachis dispersis,decies pro navigantibus,undecies pro discordantibus,duodecies pro penitentibustredecies pro iter agentibus.Tam pro papa quam pro regebibunt omnes sine lege.

Bibit hera, bibit herus,bibit miles, bibit clerus,bibit ille, bibit illa,bibit servis cum ancilla,bibit velox, bibit piger,bibit albus, bibit niger,bibit constans, bibit vagus,bibit rudis, bibit magnus.

Bibit pauper et egrotus,bibit exul et ignotus,bibit puer, bibit canusbibit presul et decanus,bibit soror, bibit frater,bibit anus, bibit mater,bibit iste, bibit ille,bibunt centum, bibunt mille.

Parum sexcente nummatedurant, cum immoderatebibunt omnes sine meta,quamvis bibant mente leta;sic nos rodunt omnes gentes,et sic erimus egentes.Qui nos rodunt confundanturet cum iustis non scribantur. III. COUR D’AMOURS

15. Boys ChorusAmor volat undique; captus est libidine.Juvenes, iuvencule coniunguntur merito.

SopranoSiqua sine socio, caret omni gaudio;tenet noctis infimasub intimo cordis in custodia:

Boys Chorusfit res amarissima.

16. BaritoneDies, nox et omniamichi sunt contraria,virginum colloquiame fay planszeroy suvenz suspirer,plu me fay temer.

Eight times to delinquent brothers,nine to the dispersed monks,ten times to the navigators,eleven to those at war,twelve to the penitent,thirteen to travelers.They drink to the pope and king alike,all drink without restraint.

The mistress drinks, the master drinks,the soldier drinks, the man of God,this man drinks, this woman drinks,the manservant drinks with the serving maid,the quick man drinks, the sluggard drinks,the white man and the black man drink,the steady man drinks, the wanderer drinks,the simpleton drinks, the wiseman drinks.

The poor man drinks, the sick man drinks,the exile drinks and the unknown,the boy drinks, the old man drinks,the bishop drinks and the deacon,sister drinks and brother drinks,the old crone drinks, the mother drinks,this one drinks, that one drinks,a hundred drink, a thousand drink.

Six hundred coins are not enoughwhen all these drink too much.And without restraintalthough they drink cheerfully.Many people censure usand we shall always be short of money,may our critics be confoundedand never be numbered among the just.

III. THE COURTS OF LOVE

15. Boys ChorusLove flies everywhere and is seized by desire,young men and women are matched together.

SopranoIf a girl lacks a partner she misses all the fun;in the depths of her heartall alone is darkest night;

Boys Chorusit is a bitter fate.

16. BaritoneDay, night, and all the worldare against me,the sound of maidens’ voicesmakes me weep.I often hear sighingand it makes me more afraid.

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O sodales, ludite,vos qui scitis dicite,michi mesto parcite,grand ey dolur,attamen consuliteper voster honur.

Tua pulchra facies,me fay planszer milies,pectus habet glacies,a remenderstatim vivus fieremper un baser.

17. SopranoStetit puella rufa tunica;si quis eam tetigit,tunica crepuit. Eia.

Stetit puella tamquam rosula;facie splenduit,os eius floruit. Eia.

18. Baritone and ChorusCirca mea pectora multa sunt suspiriade tua pulchritudine,que me ledunt misere.Manda liet, manda liet,min geselle chomet niet!Tui lucent oculi sicut solis radii,sicut splendor fulgurislucem donat tenebris.Manda liet, manda liet,min geselle chumet niet.Vellet deus, vellent dii,quod mente proposui:ut eius virginea reserassem vincula.Manda liet, manda liet,min geselle chumet niet.

19. Male ChorusSi puer cum puellulamoraretur in cellula,felix coniunctio.Amore suscrescente,pariter e medioavulso procul tedio,fit ludus ineffabilismembris, lacertis, labiis.

20. Double ChorusVeni, veni, venias, ne me mori facias,hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies,capillorum series, o quam clara species!

Rosa rubicundior, lilio candidior,omnibus formosior, semper in te glorior!

O friends, be merry,say what you will,but have mercy on me, a sad man,for great is my sorrow,yet give me counselfor the sake of your honor.

Your lovely facemakes me weep a thousand tearsbecause your heart is of ice,but I would be restoredat once to lifeby one single kiss.

17. SopranoThere stood a young girl in a red tunic;if anyone touched herthe tunic rustled. Heigh-ho.

There stood a girl fair as a rose,her face was radiant,her mouth like a flower. Heigh-ho.

18. Baritone and ChorusMy breast is filled with sighingfor your lovelinessand I suffer grievously.Manda liet, manda liet,my sweetheart comes not.Your eyes shine like sunlight,like the splendor of lightningin the night.Manda liet, manda liet,my sweetheart comes not.May God grant, may the Gods permitthe plan I have in mindto undo the bonds of her virginity.Manda liet, manda liet,my sweetheart comes not.

19. Male ChorusIf a boy and a girllinger together,happy is their union;increasing loveleaves tedious good sensefar behind,and inexpressible pleasure fillstheir limbs, their arms, their lips.

20. Double ChorusCome, come pray come, do not let me die,hyrca, hyrca, nazaza, trillirivos!

Lovely is your face, the glance of your eyes,the braids of your hair, oh how beautiful you are!

Redder than the rose, whiter than the lily,comelier than all the rest; always I shall glory in you.

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21. SopranoIn trutina mentis dubiafluctuant contrarialascivus amor et pudicitia.Sed eligo quod video,collum iugo prebeo;ad iugum tamen suave transeo.

22. ChorusTempus es iocundum, o virgines,modo congaudete vos iuvenes.

BaritoneOh—oh, totus floreo!Iam amore virginali totus ardeo,novus, novus amor est, quo pereo.

Female ChorusMea me confortat promissio,mea me deportat negatio.

Soprano and Boys ChorusOh—oh totus floreo,iam amore virginali totus ardeo,novus, novus amor est, quo pereo.

Male Chorus Tempore brumali vir patiens,animo vernali lasciviens.

BaritoneOh—oh, totus floreo,iam amore virginali totus ardeo,novus, novus amor est, quo pereo.

Female ChorusMea mecum ludit virginitas,mea me detrudit simplicitas.

Soprano and Boys ChorusOh—oh, totus floreo,iam amore virginali totus ardeo,novus, novus amor est, quo pereo.

ChorusVeni, domicella, cum gaudio,veni, veni, pulchra, iam pereo.

Baritone, Boys Chorus, and ChorusOh—oh, totus floreo,iam amore virginali totus ardeo,novus, novus amor est, quo pereo.

23. SopranoDulcissime, totam tibi subdo me!

21. SopranoIn the scalesof my wavering indecisionphysical love and chastity are weighted.But I choose what I see.I bow my head in submissionand take on the yoke which is after all sweet.

22. ChorusPleasant is the season O maidens,now rejoice together young men.

BaritoneOh, oh, I blossomnow with pure love I am on fire!This love is new, is new, of which I perish.

Female ChorusMy love brings me comfort, when she promises,but makes me distraught with her refusal.

Soprano and Boys ChorusOh, oh I blossom,now with pure young love I am on fire!This love is new, is new, of which I perish.

Male ChorusIn winter time the man is lazyin spring he will become merry.

BaritoneOh, oh, I blossom,now with pure young love I am on fire!This love is new, is new, of which I perish.

Female ChorusMy chastity teases mebut my innocence holds me back.

Soprano and Boys ChorusOh, oh, I blossom,now with pure young love I am on fire!This love is new, is new, of which I perish.

ChorusCome my darling, come with joy,come my beauty, for already I die!

Baritone, Boys Chorus, and ChorusOh, oh, I blossom,now with pure young love I am on fire!This love is new, is new, of which I perish.

23. SopranoSweetest boy I give my all to you!

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BLANZIFLOR ET HELENA

24. ChorusAve formosissima,gemma pretiosa,ave decus virginum,virgo gloriosa,ave mundi luminarave mundi rosa,Blanziflor et Helena,Venus generosa.

FORTUNA IMPERATRIX MUNDI

25. ChorusO Fortuna, velut Lunastatu variabilis,semper crescis aut decrescis;vita detestabilisnunc obdurat et tunc curatludo mentis aciem,egestatem, potestatemdissolvit ut glaciem.

Sors immanis et inanis,rota tu volubilis,status malus, vana salussemper dissolubilis,obumbrata et velatamichi quoque niteris;nunc per ludum dorsum nudumfero tui sceleris.

Sors salutis et virtutismichi nunc contrariaest affectus et defectussemper in angaria.Hac in hora sine moracorde pulsum tangite;quod per sortem sternit fortem,mecum omnes plangite!

BLANZIFLOR AND HELENA

24. ChorusHail to thee most lovemost precious jewel,hail pride of virgins!Most glorious virgin!Hail light of the world!Hail rose of the world!Blanziflor and Helena!Noble Venus, Hail.

FORTUNE EMPRESS OF THE WORLD

25. ChorusO Fortune! Like the mooneverchangingrising first then declining;hateful lifetreats us badly then with kindnessmaking sport with our desires,causing power and poverty aliketo melt like ice.

Dread destiny and empty fate,an ever-turning wheel,who make adversity and fickle healthalike turn to nothing,in the dark and secretlyyou work against me;how through trickery my naked backis turned to you unarmed.

Good fortune and strengthnow are turned from me.Affection and defeatare always on duty.Come now, pluck the stringswithout delay;and since by fate the strong are overthrownweep ye all with me.

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Documents

Season 201220- 13 - Philadelphia Orchestra · O Fortuna (chorus) This program runs approximately 2 hours. 24 ... Mr. Frühbeck studied violin, piano, music theory, and composition