"O Fortuna", two words to summarize a musical masterpiece: that of medieval poets at the origin of Carmina Burana, from whom Carl Orff, 20th Century German composer, draws when he composes his renowned cantata for choir, soloists, pianos and percussion.
In the middle of the 1930's, Orff finds fortune smiling at him from the artistic field. Not a contemporary, unambiguous and materialistic fortune but rather that of both fear and desire, whose turning wheel seals fate. Joyful and fearful at the same time, in which man is taken in its movement and from which poets and writers will take their inspiration from the ancient times. That of Brel's sailors from Amsterdam and of Leo Ferré's eponymous song.
That which still, at the time of Carl Orff, made one miss the joys of the roaring twenties and fear the extremist uprising in Europe. That Fortune which, above all, reigns in Beuren's poems or in Carmina Burana.
That which still, at the time of Carl Orff, made one miss the joys of the roaring twenties and fear the extremist uprising in Europe. That Fortune which, above all, reigns in Beuren's poems or in Carmina Burana.
| Lost and found Until their rediscovery in 1803, these textes slept in the library of the Benediktbeuren Abbey in Bavaria. They formed an ensemble of 13th Century secular or religious songs. They are written in medieval Latin, in middle high German and in old French. Telling the destiny of man through the allegories, such as the rise and fall of a king taken in the Wheel of Fortune ("Regnabo, Regno, Regnavi, Sum sine regno"), this cycle of destiny reveals the colours of fate which prevail over us; cold and dark when they treat us badly, hot and radiant when their mercy returns. They are the colours that nourish the musical palette of the German composer at the time of Carmina Burana to represent Man's feelings in the face of Destiny, in its subtle nuances. The turning wheel Composed of 24 profane poems divided into five sections, Carmina Burana will make us go from revolt in the face of merciless fate to songs of love and drinking songs, whilst passing through an ode to Spring. Behind these seemingly disparate themes hides the perpetual and fearsome movement of the Wheel of Fortune. Particularly honored, the percussion sets the rhythm to the work as Fortune proclaims life. The rythmique changes bring to light Destiny's unexpected variations, while the melody lines reunite with ancient music in order to recapture the spirit of medieval poets. For this atypical work, the European Union Choir will be accompanied by Julie Calbete (soprano), Ivan Goossens (tenor) and Thierry Vallier (baritone), by the Percussion Ensemble of the Brussels Conservatory directed by Louison Renault, by the Petits Chanteurs de Belgique (The Little Singers of Belgium), directed by Anthony Vigneron as well as pianists Luc Devos and Mathias Lecomte. At the Brussels Conservatory, 23 and 25 October 2015. | Particularly honored, the percussion sets the rhythm to the work as Fortune proclaims life. The rythmique changes bring to light Destiny's unexpected variations, while the melody lines reunite with ancient music in order to recapture the spirit of medieval poets. Programme Carmina Burana (CarlOrff) Inno delle Nazioni (Giuseppe Verdi) The European Union Choir Julie Calbete, soprano - Ivan Goossens, tenor - Thierry Vallier, Baritone Luc Devos and Mathias Lecomte, pianos Percussion ensemble of the Brussels Conservatory, directed by Louison Renault Les Petits Chanteurs de Belgique (The Little Singers of Belgium), directed by Anthony Vigneron General Director, Dirk De Moor Dates 23 & 25 October 2015 Venue Brussels Royal Conservatory |
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