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For Orff's chorus celebrating universal drunkenness, Hochoy suggests rather the illusion of power and freedom that getting drunk deceptively provides revelers.
Thank goodness there's not the slightest bit of mickey-mousing the toasts to binge drinking in the original. Male-dominated in the original, the tavern section otherwise brings men and women alike under the spell of less innocent frolicking.
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Before the full revelry ensues, there is an effective take on the original song by a roasting swan that plays off the music's fearful intensity: dancers with poles torment an isolated female dancer with precision as the tenor on the recording wails away.
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It is gratifying that a new kind of severity comes into the costuming in its tavern scene, rather than a series of inebriated cliches. The second act is conceived as a nocturnal contrast to the daytime polarities of fate and freedom - two sides of the natural order of things.
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The frolicking has an innocence, even naivete, that works to free the company from the imponderable, often cruel whims of Fortune, temporarily set aside. The celebration of spring brings fun into the picture, with gravity-defying buoyancy and zest. The second part of the paean to Fortune carries a softened mood, with a central figure surrounded by and then lifted with large white cloths, as if the mystery of Fortune's capriciousness were being raised in devout hope. Dancers look like ancient warriors, helmeted and bristling with menace. "O Fortuna," for instance, at first presents the severity of the choral complaint against the hostility of Fortune to human hopes. Its flowing, lyrical portions bring forth billowing, curving postures and movements enhanced by the costuming. In doing so, he has interpreted the pulse and accents of Orff's score in exhaustive (and for the dancers, probably exhausting) detail. Glover's lighting seemingly poised between artificial and natural worlds, Hochoy has drawn on the emotional resonance of the text more than its literal meaning. With a panoply of striking costumes by Barry Doss and Laura E. There is no transcendent salvation awaiting these souls, whatever the import of the students' training and mission may have been. There is instead a timeless setting of pagan life that looks both pre-Christian and what might be called extra-Christian, as if from a parallel universe where nature and fleshly pleasures are celebrated against the indifferent backdrop of omnipotent Fate. In the current revival by Dance Kaleidoscope at Indiana Repertory Theatre, I enjoyed the removal from anything devoted to the Middle Ages in central Europe. There are no monk's robes to suggest to us the Goliard poets who accessed their secular side through the poetry Orff drew from manuscripts discovered at the monastery of Benediktbeuern in southern Germany.ĭance Kaleidoscope represents formidable Fortune in "Carmina Burana" What David Hochoy has done with it benefits from representing the spirit of the piece without following its context except through an imagery prism of his own devising. The "brand" of Carl Orff's "Carmina Burana" is unlike anything else in 20th-century classical music: People go wild over it, its repertoire position is almost as secure among chorus-orchestra pieces as Handel's "Messiah," and its opening chorus, "O Fortuna," has been pressed into service to sell things.