Composer: Carl Orff
Performer: Russell Braun, Max Emanuel Cenčić, Alina Wunderlin, Zürcher Sing-Akademie, Zürcher Sängerknaben
Orchestra: Tonhalle-Orchester Zürich
Conductor: Paavo Järvi
Format: FLAC (tracks)
Label: Alpha
Catalogue: ALPHA1031
Release: 2025
Size: 1.05 GB
Recovery: +3%
Scan: cover
Carmina Burana
01. Fortuna Imperatorix Mundi: O fortuna
02. Fortuna Imperatorix Mundi: Fortune plango vulnera
03. I. Primo Vere: Veris leta facies
04. I. Primo Vere: Omnia sol temperat
05. I. Primo Vere: Ecce gratum
06. Uf dem Anger: Tanz
07. Uf dem Anger: Floret silva
08. Uf dem Anger: Chramer, gip die varwe mir
09. Uf dem Anger: Reie / Swaz hie gat umbe / Chume, chum, geselle min / Swaz hie gat umbe
10. Uf dem Anger: Were diu welt alle min
11. II. In taberna: Estuans interiu
12. II. In taberna: Olim lacus colueram
13. II. In taberna: Ego sum abbas
14. II. In taberna: In taberna quando sumus
15. Carmina Burana:II. In taberna: Amor volat undique
16. II. In taberna: Dies, nox et omnia
17. II. In taberna: Stetit puella
18. II. In taberna: Circa mea pectora
19. II. In taberna: Si puer cum puellula
20. II. In taberna: Veni, veni, venias
21. II. In taberna: In trutina
22. II. In taberna: Tempus est iocundum
23. II. In taberna: Dulcissime
24. Blanziflor et Helena: Ave formosissima
25. Fortuna Imperatrix Mundi: O Fortuna
Carmina Burana, the staged cantata by Carl Orff, is a work unique in musical history, claims conductor Paavo Järvi: ‘The convergence of medieval texts with such daringly original orchestral colours creates a soundworld that is both archaic and yet beyond time, in which chorus, orchestra and soloists vie in splendour.’ The work also has an unusual history: composed shortly after the Nazi takeover of Germany, it was at first rejected because of its Latin texts and the erotic character of some of its songs; yet Orff and his work subsequently became highly prized by the Reich. The composer (who was secretly ‘a quarter Jewish’) did not support the regime, but made the best of his success… Orff was 42 by the time he experienced this breakthrough with his Carmina, which he designated as his Op. 1, disowning all his previous compositions. Departing from the Romantic style, he now wanted to create music linked to rhythm, simple repeated melodies, and non-complex forms. This work’s popular success confirmed that decision.
