Columbus Symphony Orchestra

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New World Singers of Columbus Children's Chorus

Program Notes

Carmina Burana (1935-36)
by Carl Orff (Munich, 1895 – Munich, 1982)

Carl Orff’s objective—to create complex music from the simplest possible elements—informs both his compositions and his pathbreaking work in music education. The Orff-Schulwerk, an innovative educational system integrating music and movement, is based on some of the same fundamental principles as Carmina Burana, the large-scale choral work that turned the German composer into an international celebrity.

Orff hit upon the subject of Carmina Burana almost by accident. As he later recollected:

“Fortuna” smiled upon me when she brought into my hands a second-hand book catalog from Würzburg, where I found a title that drew me in with an almost magical power:

Carmina Burana: Latin and German Songs and Poems from a 13^th-Century Manuscript from Benediktbeuren, edited by J.A. Schmeller.

This manuscript had been kept in the Benediktbeuren 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 Benediktbeuren”) 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...”)

Picture and words seized hold of me. Although for the moment I was acquainted only along general lines with the contents of the collection of poems, a new work, a stage work with singing and dancing choruses, simply following the illustrations and texts, at once came into my mind. On the very 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 down on paper.

It wasn’t so 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 collections contained neumes...but I had neither the desire nor the ability 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.

Orff divided his work in three sections, devoted, respectively, to a celebration of spring, the joys of the tavern, and “The Court of Love.” The invocation of Fortune and her wheel, which had so impressed Orff, serves as a frame, opening and closing the cantata. This chorus sets the tone of the whole work with brief melodic motifs progressing in relentless ostinatos (unchanging rhythmic patterns). The first major section, “Primo vere” (“In the spring”) begins with a unison melody sung by the chorus that could almost come from the Middle Ages. Its tone continues in the ensuing first baritone aria. The next big chorus (“Ecce gratum”) evokes a folk-music style of more recent date with its clear major tonality. A purely instrumental dance movement then follows, with some changing meters in a definitely 20^th-century spirit. In the chorus “Floret silva,” the words “meus amicus” (“my friend”) are given special emphasis by a motif borrowed from Bavarian or Austrian folk dances. This turn, a bold ascending leap of a major ninth, takes on an unmistakable erotic connotation here as the subject matter turns from a description of spring flowers to the blossoming of youthful love. The dance becomes more and more boisterous, ending Part I with some ecstatic high C’s (not often required of choral singers) at the thought of embracing, of all people, the Queen of England!

Part II, devoted to the joys of good food and copious drinks, begins with the “Wandering Scholar’s Confession” by an author known only as the Archpoet of Cologne. This is followed by the Lament of the Roasting Swan, introduced by a high-pitched and tortuously chromatic bassoon solo that is intended to portray the wailing of the unfortunate bird. The tenor solo sings this most unusual “swan song” in a truly murderous high register with some decidedly un-medieval modulations. Meanwhile, the orchestral accompaniment gives us what the late Michael Steinberg, dean of program annotators, used to call “musical gooseflesh—or swanflesh.” The baritone then continues with some mock-Gregorian chant in a satirical imitation of a church sermon. An universal paean to drinking, “In taberna quando sumus,” concludes this section.

Part III (“The Courts of Love”) picks up where Part I left off. The soprano soloist, singing for the first time, expresses an undisguised sexual desire that will linger for the rest of the piece until, in a breathtaking coloratura passage for unaccompanied soprano, the act is finally consummated. All that remains is a solemn celebration of love and beauty (“Ave formosissima”) before the return of Fortune and her wheel puts everything, once more, in a sobering perspective: our thoughts and our endeavors, our joys and our sorrows, are all transient and subject to the whims of this fickle goddess.

After completing the cantata, Orff told his publisher: “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.” They continued with two companion pieces, Catulli Carmina (1943) and Trionfo di Afrodite (1951), which were eventually united as a theatrical triptych under the title Trionfi. Yet the companion pieces have never achieved the popularity of Carmina Burana. Also, while Orff clearly intended the work to be performed with sets and costumes (there have been many memorable performances stagings), the work is still most frequently heard in concert version. The music is so powerful that it certainly gets the message across even without the theatrical element.

* They were later deciphered by scholars; the original medieval Carmina Burana has now been widely performed and recorded.

Carmina Burana—Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis

Songs from Beuern – Secular Songs to Be Sung By Singers and Choruses to the Accompaniment of Instruments and Magic Pictures

Fortuna Imperatrix Mundi
Fortune, Empress of the World

1. Chorus

O Fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, protestatem dissolvit ut glaciem.		O Fortune! Like the moon everchanging, rising first then declining; hateful life, treats us badly, then, with kindness, making sport with our desires, causing power and poverty alike to melt like ice.

Sorsimmanis etinanis, rotatuvolubilis, statusmalus, vanasalus semperdissolubilis, obumbrata etvelata michiquoqueniteris; nuncperludum dorsumnudum ferotuisceleris		Dread Destiny, and empty Fate, an ever-turning wheel, you make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; how through your trickery my naked back is turned to you unarmed.

Sorssalutis etvirtutis michinunccontraria, estaffectus etdefectus semperinangaria. Hacinhora sinemora cordepulsumtangite; quodpersortem sternitfortem, mecumomnesplangite!		Good fortune and strength now are turned from me. Affection and defeat are always on duty, come now pluck the strings without delay; and since by fate the strong are overthrown weep ye all with me.

2. Chorus

Fortuneplangovulnera stillantibusocellis, quodsuamichimunera subtrahitrebellis. Verumest,quodlegitur frontecapillata, sedplerumquesequitur occasiocalvata.		I lament the wounds that Fortune deals with tear-filled eyes for returning to the attack she takes her gifts from me. Is it true as they say, the well-thatched pate may soonest lose its hair.

In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus		Once on Fortune’s throne I sat exalted crowned with a wreath of Prosperity’s flowers. But from my happy flower-decked paradise I was struck down and stripped of all my glory

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice – caveat ruinam! nam sub axe legimus Hecubam reginam.		The wheel of Fortune turns, dishonored I fall from grace and another is raised on high. Raised to dizzy heights of power, The King sits in majesty but let him beware his downfall! For beneath the axle of Fortune’s wheel behold Queen Hecuba.

I. Primo Vere
Springtime

3. Chorus

Veris leta facies mundo propinatur hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.		The joyous face of Spring is presented to the world. Winter’s army is conquered and put to flight. In colorful dress Flora is arrayed and the woods are sweet with birdsong in her praise.

Flore fusus gremio Phebus novo more risum dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.		Reclining in Flora’s lap Phoebus again laughs merrily covered with many colored flowers. Zephyr breathes around the scented fragrance; eagerly striving for the prize. Let us compete in love.

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.		Trilling her song sweet Philomel is heard and smiling with flowers the peaceful meadows lie, a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys

4. Baritone

Omnia Sol temperat purus et subtilis. novo mundo reserat faciem Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.		All things are tempered by the Sun so pure and fine. In a new world are revealed the beauties of April, to thoughts of love the mind of man is turned and in pleasure’s haunts the youthful God holds sway

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere, \|vias prebet solitas, et in tuo vere fides est in probitas tuum retinere.		Nature’s great renewal in solemn Spring and Spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your Springtime there is virtue and honesty in being constant to your lover.

Ama me fideliter! Fidem meam nota, de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter volvitur in rota.		Love me truly! Remember my constancy. With all my heart and all my mind I am with you even when far away. Whoever knows such love knows the torture of the wheel.

5. Chorus

Ecce gratum et optatum Ver reducit gaudia. purpuratum floret pratum, Sol serenat omnia. Iam im cedant tristia! Estas redit, nunc recedit Hyemis sevitia.		Behold the welcome long-awaited Spring, which brings back pleasure and with crimson flowers adorns the fields. The Sun brings peace to all around: away with sadness! Summer returns and now departs cruel winter.

Iam liquescit et decrescit grando, nix, etcetera, bruma fugit et iam sugit Ver Estatis ubera; illi mens et misera, qui nec vivit, nec lascivit sub Estatis dextera		Melt away and disappear hail, ice, and snow. The mists flee and Spring is fed at Summer’s breast. Wretched is the man who neither lives nor lusts under Summer’s spell.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis		They taste delight and rejoice in honeyed sweetness, those who strive for, and gain, Cupid’s reward. Let us submit to Venus’s rule, in delight and joy be equal to Paris.

Uf dem Anger
On the Green

6. Orchestra

7. Chorus

Floret silva nobilis
floribus et foliis.

Ubi est antiquus
meus amicus?
Hinc equitavit,
eia, quis me amabit?

Floret silve undique,
nah mime gesellen ist mir wê.

Gruonet der walt allenthalben,
wâ ist min geselle alse lange?
Der ist geritten hinnen,
o wî, wer sol mich minnen?

The noble forest
is decked with flowers and leaves.

Where is my old
lover?
He rode away on his horse.
Alas, who will love me now?

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

The forest all around is in flower,
whence is my lover gone?
He rode away on his horse.
Alas, who will love me now?

8. Chorus

Chramer, gip die varwe mir,
die min wengel roete,
da mit ich die jungen man
an ir dank der minnenliebe noete.

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

Minnet, tugendliche man,
minnecliche frouwen!
minne tuot iu hoch gemuot
unde lat iuch in hohen eren schouwen.

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

Wol dir, Werlt, daz du bist
also freudenriche!
Ich wil dir sin undertan
durch din liebe immer sicherliche.

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

Shopkeeper, give me colored paint
to paint my cheeks so crimson red,
that I may make these young men
love me, whether they want to or not.

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

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

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

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

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

9. Reie
Dance

Swaz hie gat umbe, daz sint allez megede, die wellent ân man alle disen sumer gan!		They who here go dancing round are young maidens all who will go without a man this whole summer long.

Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min.		Come, 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!

Suzer roservarwer munt, chum unde mache mich gesunt, chum unde mache mich gesunt, suzer roservarwer munt.		Sweetest rosy-colored mouth, come and make me well again! Come and make me well agiain, sweetest rosy-colored mouth.

Swaz hie gat umbe, daz sint allez megede, die wellent ân man alle disen sumer gan!		They who here go dancing round are young maidens all who will go without a man this whole summer long.

10. Chorus

Were diu werlt alle min
von deme mere unze an den Rin,
des wolt ih mih darben,
daz diu chünegin von Engellant
lege an minen armen.

If the whole world were mine
from the sea right to the Rhine,
gladly I’d pass it by
if the Queen of England
in my arms did lie.

II. In Taberna
In the Tavern

11. Baritone

Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.		Seething inside with boiling rage in bitterness I talk to myself. Made of matter risen from dust I am like a leaf tossed in play by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.		But whereas it befits a wise man to build his house on a rock, I, poor fool, am like a meandering river, never keeping to the same path.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes, et adiungor pravis.		I drift along like a pilotless ship or like an aimless bird carried at random through the air; no chains hold me captive, no lock holds me fast, I am looking for those like me and I join the depraved.

Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.		The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb. Whatever Venus commands is pleasant toil; she never dwells in craven hearts.

Via lata gradior more iuventutis, implicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.		On the broad path I wend my way as is youth’s wont. I am caught up in vice and forgetful of virtue. caring more for voluptuous pleasure than for my health, dead in spirit, I think only of my skin.

12. Tenor, male chorus

Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram.		Once in lakes I made my home, once I dwelt in beauty, that was when I was a swan.

Miser, miser! Modo niger et ustus fortiter!		Alas, poor me! Now I am black and roasted to a turn!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer.		On the spit I turn and turn; the fire roasts me through, now I am presented at the feast.

Miser, miser! Modo niger et ustus fortiter!		Alas, poor me! Now I am black and roasted to a turn!

Ninc in scutella iaceo, et volitare nequeo, dentes frendentes video:		Now in a serving dish I lie and can no longer fly, gnashing teeth confront me.

Miser, miser! Modo niger et ustus fortiter!		Alas, poor me! Now I am black and roasted to a turn!

13. Baritone and male chorus

Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii volunta mea’st et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit:		I am the abbot of Cockaigne and 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 tavern by evening has lost his clothes, and thus stripped of his clothes cries out:

Wafna! Wafna! Quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia!		Wafna! Wafna! What hast thou done, o wicked Fate? You have taken away all the pleasures of this life!

14. Male Chorus

In 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.		When we are in the tavern we spare no thought for the grave but rush to the gaming tables where we always sweat and strain. What goes on in the tavern where a coin gets you a drink, if this is what you would know then listen to what I have to say.

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:		Some men gamble, some men drink, some indulge in indiscretions, but of those who stay to gamble some lose their clothes, some win new clothes, while others put on sack clothes. There is no one afraid of death, throwing dice for Bacchus

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.		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.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege.		Eight times to delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those who are fighting, twelve to the penitent, thirteen to the travelers. They drink to the Pope and King alike, all drink without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.		The mistress drinks, the master drinks, the soldier drinks, the clergyman drinks, this man drinks, this woman drinks, the manservant drinks with the serving maid, the quick man drinks, the sluggard drinks, the white man drinks, the black man drinks, the steady man drinks, the wanderer drinks, the simpleton drinks, the wise man drinks.

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.		The poor man drinks, the sick man drinks, the exile drinks and the unknown man drinks, the boy drinks, the old man drinks, the Bishop drinks, the Deacon drinks, Sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant cum immoderate bibunt omnes sine meta quamvis bibant mente leta; sic nos rodunt omnes gentes, et sic erimus egentes. Quis nos rodunt confudantur et cum iustis non scribantur.		Six hundred coins are not enough for this aimless and immoderate drinking, although they drink cheerfully. Many people censure us and we shall always be short of money. My our critics be confounded and never be numbered among the just.

III. Cour d’Amours
The Courts of Love

15. Boys, soprano

Amor volat undique; captus est libidine. Juvenes, iuvencule coniunguntur merito.		Love flies everywhere and is seized by desire, young men and women are matched together.

Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia:		If a girl lacks a partner she misses all the fun; in the depths of her heart all alone is darkest night;

fit res amarissima.		it is a bitter fate.

16. Baritone

Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer oy suvenz suspirer, plu me fay temer.		Day, night, and all the world are against me, the sound of maidens’ voices makes me weep. I often hear sighing and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur		O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honor.

Tua pulchra facies, me fay planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.		Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

17. Soprano

Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.		There stood a young girl in a red tunic; if anyone touched her the tunic rustled. Heigh-ho.

Stetit puella tamquam rosula; facie splenduit, os eius floruit. Eia.		There stood a girl fair as a rose, her face was radiant, her mouth like a flower. Heigh-ho.

18. Baritone and Chorus

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.		My breast is filled with sighing for your loveliness and I suffer grievously.

Manda liet, manda liet, min geselle chomet niet!		Manda liet, manda liet, my sweetheart comes not.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.		Your eyes shine like sunlight, like the splendor of lightning in the night.

Manda liet, manda liet, min geselle chumet niet.		Manda liet, manda liet, my sweetheart comes not

Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula.		May God grant, may the Gods permit the plan I have in mind to undo the bonds of her virginity.

Manda liet, manda liet, min geselle chumet niet.		Manda liet, manda liet, my sweetheart comes not.

19. Six Solo Men

Si puer cum puellula
moraretur in cellula,
Felix coniunctio.
Amore suscrescente,
pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.

If a boy and a girl
are together in a little room ,
happy is their union;
increasing love
leaves tedious good sense
far behind,
and inexpressible pleasure fills
their limbs, their arms, their lips.

20. Double Chorus

Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!		Come, come pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!		Lovely is your face, the glance of your eyes, the braids of your hair, oh how beautiful you are!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!		Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you.

21. Soprano

In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.

In the scales
of my wavering indecision
physical love and chastity are weighted.
But I choose what I see.
I bow my head in submission
and take on the yoke which is after all sweet.

22. Baritone, boys and chorus

Tempus est iocundum, o virgines, modo congaudete vos iuvenes.		Pleasant is the season O maidens, now rejoice together young men.

Oh - oh - oh, totus floreo! Iam amore virginali totus ardeo, novus, novus amor est, quo pereo.		Oh, oh, I blossom now with pure love I am on fire! This love is new, is new, of which I perish.

Mea me confortat promissio, mea me deportat negatio.		Complying soothes me, refusing casts me down..

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo		Oh, oh, I blossom, now with pure young love I am on fire! This love is new, is new, of which I perish.

Tempor brumali vir patiens, animo vernali lasciviens.		In Winter time the man is lazy in Spring he will become merry.

Oh – oh - oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.		Oh, oh, I blossom, now with pure young love I am on fire! This love is new, is new, of which I perish.

Mea mecum ludit virginitas, mea me detrudit simplicitas.		My chastity teases me but my innocence holds me back.

Oh – oh - oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.		Oh, oh, I blossom, now with pure young love I am on fire! This love is new, is new, of which I perish.

Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo		Come my darling, come with joy, come my beauty, for already I die!

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.		Oh, oh, I blossom, now with pure young love I am on fire! This love is new, is new, of which I perish

23. Soprano

Dulcissime, totam tibi subdo me!

Sweetest boy, I give my all to you!

Blanziflor et Helena
Blanziflor and Helena

24. Chorus

Ave formosissima,
gemma pretiosa,
ave decus virginum,
virgo gloriosa,
ave mundi luminar
ave mundi rosa,
Blanziflor et Helena,
Venus generosa.

Hail to thee most love
most 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.

Fortuna Imperatrix Mundi
Fortune Empress of the World

25. Chorus

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.		O Fortune! Like the moon everchanging rising first then declining; hateful life treats us badly then with kindness making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.		Dread Destiny and empty fate, an ever-turning wheel, who make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; how through trickery my naked back is turned to you unarmed.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!		Good fortune and strength now are turned from me. Affection and defeat are always on duty, come now, pluck the strings without delay; and since by fate the strong are overthrown weep ye all with me.

ORFF		Carmina Burana
		Fortuna imperatrix mundi
	I.	Primo vere Uf dem Anger
	II.	In taberna
	III.	Cour d’amours Blanziflor et Helena Fortuna imperatrix mundi