Carmina Burana (arr Mas Quiles)
Carl Orff (arr. Mas Quiles)
1. O Fortuna - 2:00
2. Ecce Gratum - 1:15
3. Estuans interius - 2:00
4. In taberna quando sumus - 1:45
5. In trutina - 2:00
6. O Fortuna – 2:00
C Piccolo/Flute III
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Percussion (5-6 players), including:
- Antique Cymbals (2)
- Bass Drum
- Bells (3)
- Crash Cymbals (4)
- Glockenspiel (3)
- Plate Bell
- Sleigh Bells
- Snare Drum (2)
- Tubular Bells
None discovered thus far.
Carl Orff's first stage work, Carmina Burana, was composed in 1935-6 and premiered at the Frankfurt Opera in 1937; it became an outstanding success. Orff drew the inspiration for his grand vocal and orchestral work from 24 poems of the 200 found in the 13th century monastery of Benediktbeuern, near Munich in Bavaria, and published in 1847 under the title of Carmina Burana. Carmina is the plural of the Latin word carmen and in early time, carried the implication of student songs. Burana was the Latin name for the area we know today as Bavaria. Both sacred and secular, the texts are frank avowals of earthly pleasure: eating, dancing, drinking, gambling, and lovemaking. They proclaim the beauty of life and the glory of springtime. The music is simple in harmony and range, consistent with 13th century music, with a driving rhythm to which the listener instinctively responds.
- Program Note by William V. Johnson for the San Luis Obispo Wind Orchestra
Carl Orff’s Carmina Burana is a multi-movement musical setting of medieval poems selected from the collection of the same name. Each movement has its own subject independent of the other movements.
1. O fortune (O Fortune). A lament for the unpredictability of fate and the impermanence of good fortune. Fate is described as a monstrous, ever-turning wheel, reflected in Orff's slowly-building. Cyclical theme. 5. Ecce gratum (Behold the welcome). A celebration of the beginning of spring. As winter melts away, the promise of spring and new life awakens in all creation. 11. Estuans interius (Seething inside). A grave reflection on failures, foolish endeavors, and disappointments in life. 14. In taberna quando sumus (When we are in the tavern). A raucous account of typical tavern endeavors: gambling, elaborate toasting and, above all, drinking. 21. In trutina (On the scales). A poet weighs the temptation of love against chastity and, in the end, gives in. 25. O fortuna (O fortune). As the work ends, a final reminder of the cruel indifference of fate.
- Program Note from U.S. Army Field Band concert program, 16 December 2015
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Michigan State University (East Lansing) Wind Symphony (Kevin Sedatole, conductor; Choral Union, University Chorale, State Singers) – 29 April 2017
- United States Army Field Band (Ft. Meade, Md.) (Timothy Holtan, conductor; Samuel Chung, bass; Teresa Alzadon, soprano) - 16 December 2015 (2015 Midwest Clinic)
- Agrupacion Musical "Los Silos" de Burjassot (Valencia, Spain) (Miguel Ángel Martinez Montés, conductor) – 19 November 2006
Works for Winds by this Composer
- Carmina Burana (arr. Krance) (1937/1967)
- Carmina Burana (arr. Mas Quiles) (1937)
- Carmina Burana (arr. Wanek) (1937)
- Catulli Carmina
- Der Mond
- Entrata (Orff)
- Four Burlesque Scenes (arr. Regner) (1938/1997)
- Stetit Puela
- Miles, Richard B., and Larry Blocher. (2010). Teaching Music through Performance in Band. Volume 1. Chicago: GIA Publications. pp. 915-925.
- Orff, C.; Mas Quiles, J. (1994). Carmina Burana : Cantiones Profanae : Für Soli, Knabenchor, Gemischten Chor und Blasorchester = For Soloists, Boys' Choir, Mixed Choir and Concert Band [score]. Schott: Mainz.