Carmina Burana

Large Version-Arranged for three soloists; Soprano Tenor and Baritone as well as the chorus SATB. Carl Orff?s dramatic cantata Carmina Burana was originally designed as a theatre piece a 'scenic cantata' to be danced as well as sung and played. Already 38 when he began composing Carmina Burana ? Songs from Benediktbeuern ? Orff was nearly 42 when it finally was produced in 1936. Carmina Burana reflects the period when Orff finally turned his back on chromaticism and complex polyphony for a deliberately simplified style characterised by its rhythmic energy and the repetition of short melodic phrases supported by elemental block harmonies. In Latinand High German.

for string orchestra with piano and percussion-Carl Orff's Music From Carmina Burana (O Fortuna) for String Orchestra with Piano and Percussion.

Carl Orff's celebrated Carmina Burana is based based on mediaeval texts and has been edited and arranged here for Piano solo by Eric Chumachenco. It is a brilliant and vibrant composition of unashamed sensuality and fullness of sound.

?De sancto Pelagio et sancto Theodolo? is a transcription of a composition originally conceived for choir and large orchestra.The texts which stem from the liturgical chants ?Cantionale? by Thomas Kress serve as a medieval sacred counterpart to the texts of Carl Orff?s ?Carmina Burana?.The composition tries to capture the same archaic feel as ?Carmina Burana? but with a more solemn sacral atmosphere.

Par SZYMANOWSKI KARL. Unlike the works Karol Szymanowski composed during the first two decades of the 20th century, his Stabat Mater could only have been written in a country with Slavic culture. Drawing on his musical roots and mother tongue, he wrote a transparent score for soloists, mixed choir and orchestra. It is all fascinatingly simple. The melodies consist of minor and major seconds and thirds and the pace of most movements is slow; only the second movement has a rhythm and melody that seem to pre-empt Orff's Carmina Burana. It is a unique masterpiece of oratorio./ Répertoire / SAB et Choeur

Par ORFF CARL. From 'Carmina Burana'/ Répertoire / Choeur d'Hommes (TTBB) et Piano 4 Mains

Cet arrangement virtuose du mouvement célèbre de 'Carmina Burana' est adapté à la fois comme un rappel efficace et la concurrence morceau. Imprimé avec deux versions de chaque édition, elle est conçue comme une étude en tierces ou en dixièmes à la fois pour le violon et l'alto. / Alto

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

Par BRASSY CHRISTIAN. Une nouvelle génération d'outils pédagogiques au service de toutes les musiques ! Cette collection s'appuie sur les Instructions Officielles relatives aux contenus et objectifs pédagogiques dans les domaines de l'écoute et des Pratiques Instrumentales, Vocales ou chorales. Présentation générale de la collection : 1) Un Dossier Magistral avec : > 1 ouvrage pour introduire le thême et le traiter sur une période de six à  huit semaines, voire plus dans le cadre d'un PAC. > 2 CD avec : une partie audio?, une partie Rom : fichiers . pdf interactifs (fichiers midi, images). 2) Un DVD qui apportera un grand nombre de pistes d'exploitations concrêtes et réalistes. 3) Un livret pour l'élêve. ---------------------------------------------------------------------------Dossier magistralL'ouvrage se divise en deux grandes parties : la premiêre est consacrée à  L'évolution de l'instrumentarium? et la seconde re-situe Les musiques en leur temps?. Cette derniêre partie dresse un panorama chronologique des événements qui ont accompagné l'évolution et les avancées de la stylistique musicale. La progression est jalonnée de nombreuses propositions d'écoutes ou de renvois aux DVD qui permettent de découvrir la nature des chants mais aussi quelques-unes des multiples pratiques instrumentales et dansées. Ainsi, illustrés par les extraits sonores, sont abordés tous les grands courants qui ont marqué cette époque,> Un monde imprégné par le sacré : importance des cloches, la leçon de musique (Ut queant laxis...), chants grégoriens...> Les temps féodaux : > jeu sur différents instruments (cors, frestels, muses, musacorne, flûtes, viêle...),> du sacré au profane (chants de troubadours et trouvêres : Dies irae, Planh sur la mort de Richard Coeur de lion, Flor enversa, Apris ai qu'en chantant, Plaine d'ire et de desconfort, En mai la roussée, Carmina Burana...> Le Beau Moyen ge? : chants (A. de la Halle : Venes apres moi, Cantigas de Santa Maria, Stella splendens...) instruments (muse au sac, viêle, harpe, muse double, organetto...),> Le temps des crises (Ars Nova : 11 index) : répertoire de Machaut, Landini, Senlêches, Codex fà¦nza... instruments (orguines, fl. traversiêre, organetto, guiterne, luth, harpe, clavicythérium...),> Vers un renouveau humaniste (16 index) : chants et musiques (Filles à  marier, Trop penser, Adieu mes amours, Ce jour de l'an, n'aurai-je pas, Je suis d'Allemagne... origines : man. de Bayeux, Dufay, Morton, Pauman, Martini...) instruments divers (flûte et tabor, viêle, clavicymbalum, rebec, vihuela, orgues diverses...),Une abondante iconographie originale illustre l'ensemble du livre. D'autre part plusieurs propositions de chants et de pratiques instrumentales permettront une mise en oeuvre pédagogique des musiques de cette époque. / / Livre / Livres

Par ORFF CARL. No 14 Of Carmina Burana/ Répertoire / Choeur D'Hommes et Orchestre