Program Notes

AT A GLANCE

Title: Carmina Burana
By: Carl Orff (1895-1982)
Composed: 1937
Length: 70 minutes

Instrumentation:
3 flutes (third doubling piccolo), 3 oboes (third doubling English horn), 3 clarinets (second doubling bass clarinet, third doubling E-flat clarinet), 2 bassoons + contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 5 timpani, percussion (2 snare drums, bass drum, triangle, cymbals, suspended cymbal, antique cymbals, ratchet, castanets, tambourine, sleigh bells, tam-tam, tubular bells, bell, 3 glockenspiels, xylophone), 2 keyboards, and strings

Previous CSGB & DBC performance:
2014 April

ABOUT THE COMPOSER & MUSIC

Carl Orff

The composer
Carl Orff was a German composer known for his operas and dramatic works. He studied at the Munich Academy of Music and later conducted in opera houses in Munich, Mannheim, and Darmstadt. His pieces are characterized by strong rhythms derived from rich text material and their interplay with melody.

Orff developed an innovative approach to music education which combined music, movement, drama, and speech into lessons similar to a child’s world of play. Students used recorders and small percussion instruments to improvise and experiment. Known as the Orff Schulwerk (German word meaning “school work”), this approach is now widely used throughout the world to teach students in a natural and comfortable environment.

The music
Carmina Burana is a cantata (Italian word meaning “sung”) of 24 poems based on a medieval collection of 254 poems and dramatic texts. Carmina Burana is the first part of the “Trionfi” trilogy that also includes Catulli Carmina and Trionfo di Afrodite. While modern in some of his compositional techniques, Orff was able to capture the spirit of the medieval period in these three works.

The full title of Orff’s cantata is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images). The Frankfurt Opera premiered the work in June 1937 and it has since become Orff’s best known composition.

The medieval poems, written in Latin and an early form of German, are a lament about the cruel indifference of fate. The piece covers a wide range of topics: the fickleness of fortune and wealth, the fleeting nature of life, the joy of the return of spring, and the pleasures and perils of drinking, gluttony, gambling, and lust. The “O Fortuna” chorus is often used to denote primal forces, and has been featured in countless movies and commercials.

Top 10 Places You’ve Heard Carmina Burana

STRUCTURE

Carmina Burana consists of 25 movements marked attacca (attack at once, without pause) between all the movements within each major section. The compositional structure is based on the idea of the turning Fortuna Wheel. A drawing of the wheel includes four phrases around the outside:

Regnabo, Regno, Regnavi, Sum sine regno.
(I shall reign, I reign, I have reigned, I am without a realm).

Within each scene, and sometimes within a single movement, the wheel of fortune turns joy into bitterness and hope to grief. The first poem “O Fortuna” serves as the work’s opening and closing movements, completing the circle.

Fortuna imperatrix mundi (Fortune, Empress of the World)

1. O Fortuna (O Fortune) – Chorus
2. Fortune plango vulnera (I lament the wounds of Fortune) – Chorus

I – Primo vere (Part I: In Spring)

3. Veris leta facies (The merry face of spring) – Small Chorus
4. Omnia sol temperat (The sun warms everything) – Baritone
5. Ecce gratum (Behold the pleasant spring) – Chorus

Uf dem Anger (In the Meadow)

6. Tanz (Dance) – Orchestra
7. Floret silva (The forest flowers) – Chorus
8. Chramer, gip die varwe mir (Shopkeeper, give me color) – Chorus
9a. Reie (Round dance) – Orchestra
9b. Swaz hie gat umbe (Those who go round and round) – Chorus
9c. Chume, chum, geselle min (Come, come, my dear companion) – Small Chorus
9d. Swaz hie gat umbe (Those who go round and round, reprise) – Chorus
10. Were diu werlt alle min (If the whole world were mine) – Chorus

II – In taberna (Part II: In the Tavern)

11. Estuans interius (Burning inside) – Baritone
12. Olim lacus colueram (Once I lived on lakes) – Tenor and Chorus
13. Ego sum abbas (I am the abbot) – Baritone and Male Chorus
14. In taberna quando sumus (When we are in the tavern) – Male Chorus

III – Cour d’amours (Part III: Court of Love)

15. Amor volat undique (Love flies everywhere) – Soprano and Children’s Chorus
16. Dies, nox et omnia (Day, night, and everything) – Baritone
17. Stetit puella (There stood a girl) – Soprano
18. Circa mea pectora (In my heart) – Baritone and Chorus
19. Si puer cum puellula (If a boy with a girl) – Baritone and Male Chorus
20. Veni, veni, venias (Come, come, come) – Chorus
21. In trutina (In the balance) – Soprano
22. Tempus est iocundum (This is the joyful time) – Soprano, Baritone, and Children’s Chorus
23. Dulcissime (Sweetest one) – Soprano

Blanziflor et Helena (Blancheflour and Helen)

24. Ave formosissima (Hail, most beautiful one) – Chorus

Fortuna imperatrix mundi (Fortune, Empress of the World)

25. O Fortuna (O Fortune, reprise) – Chorus

FORTUNE EMPRESS OF THE WORLD

1. O FORTUNE
O Fortune, like the moon you are changeable, ever waxing and waning. Hateful life first oppresses, and then soothes as fancy takes it. Poverty and power, it melts them like ice.

Fate – monstrous and empty, you whirling wheel, you are malevolent. Well-being is in vain and always fades to nothing, shadowed and veiled you plague me too. Now through the game, I bring my bare back to your villainy.

Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay, pluck the vibrating strings. Since Fate strikes down the strong man, everyone weep with me!

2. I LAMENT THE WOUNDS OF FORTUNE
I lament the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but when it comes to seizing an opportunity, she is bald.

On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity. Though I may have flourished happy and blessed, now I fall from the peak deprived of glory. The wheel of Fortune turns: I go down, demeaned. Another is raised up. Far too high up sits the king at the summit – let him fear ruin! For under the axis is written Queen Hecuba.

PART I. IN SPRING

3. THE MERRY FACE OF SPRING
The merry face of spring turns to the world. Sharp winter now flees, vanquished. Bedecked in various colors Flora reigns. The harmony of the woods praises her in song. Ah!

Lying in Flora’s lap, Phoebus once more smiles. Now covered in many-colored flowers, Zephyr breathes nectar-scented breezes. Let us rush to compete for love’s prize. Ah!

In harplike tones sings the sweet nightingale. With many flowers the joyous meadows are laughing. A flock of birds rises up through the pleasant forests. The chorus of maidens already promises a thousand joys. Ah!

4. THE SUN WARMS EVERYTHING
The sun warms everything, pure and gentle. Once again it reveals to the world April’s face. The soul of man is urged towards love, and joys are governed by the boy-god.

All this rebirth in spring’s festivity and spring’s power bids us to rejoice. It shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Love me faithfully! See how I am faithful with all my heart and with all my soul. I am with you, even when I am far away. Whoever loves this much turns on the wheel.

5. BEHOLD, THE PLEASANT SPRING
Behold the pleasant and longed-for spring brings back joyfulness. Violet flowers fill the meadows, the sun brightens everything. Sadness is now at an end! Summer returns, now withdraw the rigors of winter. Ah!

Now melts and disappears ice, snow, and the rest. Winter flees, and now spring sucks at summer’s breast. A wretched soul is he who does not live or lust under summer’s rule. Ah!

They glory and rejoice in honeyed sweetness, who strive to make use of Cupid’s prize. At Venus’ command let us glory and rejoice in being Paris’ equals. Ah!

IN THE MEADOW

6. DANCE
(instrumental)

7. THE FOREST FLOWERS
The noble woods are burgeoning with flowers and leaves. Where is the lover I knew? Ah! He has ridden off! Oh! Who will love me? Ah!

The woods are burgeoning all over. I am pining for my lover. The woods are turning green all over. Why is my lover away so long? Ah! He has ridden off. Oh woe, who will love me? Ah!

8. SHOPKEEPER, GIVE ME COLOR
Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will. Look at me, young men! Let me please you! Good men, love women worthy of love! Love ennobles your spirit and gives you honor. Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford.

9. ROUND DANCE
Those who go round and round are all maidens. They want to do without a man all summer long. Ah! Sla!
Come, come, my love, I long for you. Sweet rose-red lips, come and make me better.

10. IF ALL THE WORLD WERE MINE
If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey!

PART II. IN THE TAVERN

11. BURNING INSIDE
Burning inside with violent anger, bitterly I speak my heart. Created from matter of the ashes of the elements, I am like a leaf played with by the winds.

If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.

I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird. Chains cannot hold me, keys cannot imprison me. I look for people like me and join the wretches.

The heaviness of my heart seems a burden to me. It is pleasant to joke and sweeter than honeycomb. Whatever Venus commands is a sweet duty. She never dwells in a lazy heart.

I travel the broad path as is the way of youth. I give myself to vice, unmindful of virtue. I am eager for the pleasures of the flesh more than for salvation. My soul is dead, so I shall look after the flesh.

12. ONCE I LIVED ON LAKES
The roasted swan sings:
Once I lived on lakes, once I looked beautiful when I was a swan. Misery me! Now black and roasting fiercely! The servant is turning me on the spit. I am burning fiercely on the pyre. The steward now serves me up. Now I lie on a plate, and cannot fly anymore. I see bared teeth.

13. I AM THE ABBOT
I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius. And whoever searches me out at the tavern in the morning, after Vespers he will leave naked. And thus stripped of his clothes he will call out: Woe! Woe! What have you done, vilest Fate? The joys of my life you have taken all away! Haha!

14. WHEN WE ARE IN THE TAVERN
When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat. What happens in the tavern, where money is host, you may well ask, and hear what I say.

Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no one fears death, but they throw the dice in the name of Bacchus.

First of all it is to the wine-merchant that the libertines drink. One for the prisoners. Three for the living. Four for all Christians. Five for the faithful dead. Six for the loose sisters. Seven for the footpads in the wood.

Eight for the errant brethren. Nine for the dispersed monks. Ten for the seamen. Eleven for the squabblers. Twelve for the penitent. Thirteen for the wayfarers. To the Pope as to the king, they all drink without restraint.

The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks.

The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink.

Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably. However much the cheerfully drink we are the ones whom everyone scolds, and thus we are destitute. May those who slander us be cursed and may their names not be written in the book of the righteous. Io, io, io!

PART III. THE COURT OF LOVE

15. LOVE FLIES EVERYWHERE
Love flies everywhere seized by desire. Young men and women are rightly coupled. The girl without a lover misses out on all pleasures. She keeps the dark night hidden in the depth of her heart. It is a most bitter fate.

16. DAY, NIGHT, AND EVERYTHING
Day, night, and everything is against me. The chattering of maidens makes me weep, and often sigh, and, most of all, scares me. O friends, you are making fun of me. You do not know what you are saying. Spare me, sorrowful as I am, great is my grief. Advise me at least, by your honor. Your beautiful face makes me weep a thousand times. Your heart is of ice. As a cure, I would be revived by a kiss.

17. THERE STOOD A GIRL
A girl stood in a red tunic. If anyone touched it, the tunic rustled. Eia!

A girl stood like a little rose. Her face was radiant and her mouth in bloom. Eia!

18. IN MY HEART
In my heart there are many sighs for your beauty, which wound me sorely. Ah!

Mandaliet, mandaliet, my lover does not come. Your eyes shine like the rays of the sun, like the flashing of lightning which brightens the darkness. Ah!

May God grant, may the gods grant what I have in my mind, that I may loose the chains of her virginity, Ah!

19. IF A BOY WITH A GIRL
If a boy with a girl tarries in a little room, happy is their coupling. Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms, and lips.

20. COME, COME, COME
Come, come, O come, do not let me die. Hyrca, hyrce, nazaza, trillirivos! Beautiful is your face, the gleam of your eye, your braided hair. What a glorious creature! Redder than the rose, whiter than the lily, lovelier than all others. I shall always glory in you!

21. IN THE BALANCE
In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke. I yield to the sweet yoke.

22. THIS IS THE JOYFUL TIME
This is the joyful time, O maidens, rejoice with them, young men! Oh, oh, oh!

I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of!

I am heartened by my promise, I am downcast by my refusal. Oh! oh! oh!

In the winter man is patient, the breath of spring makes him lust. Oh! oh! oh!

My virginity makes me frisky, my simplicity holds me back. Oh! oh! Oh!

Come, my mistress, with joy, come, come, my pretty, I am dying! Oh! oh! oh!

23. SWEETEST ONE
Sweetest one! Ah!
I give myself to you totally!

BLANCHEFLEUR AND HELEN

24. HAIL, MOST BEAUTIFUL ONE
Hail, most beautiful one, precious jewel.
Hail, pride among virgins, glorious virgin.
Hail, light of the world.
Hail, rose of the world.
Blanchefleur and Helen, noble Venus!

FORTUNE, EMPRESS OF THE WORLD

25. O FORTUNE
No. 1 repeated

YI-LAN NIU
Soprano Soloist

Yi-Lan Niu

Bio
Yi-Lan (Elaine) Niu completed her master’s degree in voice at the Eastman School of Music and her doctoral degree in vocal performance at the University of Wisconsin-Madison. A versatile performer, Niu presents a wide range of vocal music from Renaissance lute songs by John Dowland to the contemporary, minimalistic music of Steve Reich. She has appeared as a featured soloist in major works including Gloria by Antonio Vivaldi, Messiah by George Frideric Handel, Carmina Burana by Carl Orff, Lord Nelson Mass by Joseph Haydn, and Magnificat by John Rutter.

Her numerous operatic roles include Clorinda in Combattimento di Tancredi e Clorinda, Costanza in La Griselda, Serpina in La Serva Padrona, Sandman from Hansel & Gretel, Diane from Orpheus in the Underworld, and Papagena in The Magic Flute. Niu actively premieres vocal pieces written for her including Requiem by New York-based composer Alexander Nohai-Seaman, the contemporary French song cycle Départ by John Hennecken, and Yuan Songs by Chi-Wei Hui from Hong Kong.

In addition to presenting live performances, Niu has recorded several professional recordings: Chante & Souffrir-A Sacred Vocal album by Gounod, Four Lieder Op.27, No.1-4 by Strauss, and Quattro Canzoni D’Amarnata by Tosti. Niu is currently a music professor at St. Norbert College where she teaches applied voice, vocal diction & literature, vocal pedagogy, and opera. Please watch her performances at: youtube.com/@niudiva

Q&A
We are excited to spotlight Dr. Yi-Lan Niu, our soloist for Carmina Burana. A gifted soprano and professor of music at St. Norbert College, Dr. Niu has wowed audiences worldwide with her stunning performances. Don’t miss the chance to hear her in this powerful concert!

1. What’s your favorite part of collaborating with the orchestra, chorale, and other musicians on this piece?
My favorite part of working with the orchestra, the chorale and other musicians is working with awesome, music-loving people and together we make great music. Plus, Kent and Seong always come up with the greatest repertoire to perform.

2. For those unfamiliar with Carmina Burana, what would you say to encourage them to come experience the performance?
Carmina is an interesting piece because with its irregular rhythm, explosive dynamics, and primitive language, it challenges you to listen harder and it makes you want to understand more. I will suggest that, for young listeners and first timers, just watch the performance and enjoy the music and don’t think too much about it. If I were in the audience, I might be dancing to the beat in my chair!

3. Can you give us a glimpse into your typical practice regimen for preparing for this concert? How do you balance it all?
In addition to performing this piece, I am teaching full-time plus preparing a recording project, one funeral and one art gallery performance (so crazy!). Knowing that I have very limited time, I try to use it effectively, (ten minutes here and there, and they all add up!). The most important thing is that I cherish every moment of it so the preparation does not feel like doing chores. Again, working with the Chorale and the Symphony has been a great experience from the start. Both Kent Paulsen and Seong Graham are amazing conductors who know their music. I can’t resist them!

Kent Paulsen

KENT PAULSEN
Baritone Soloist

Kent Paulsen is the artistic director and conductor of the Dudley Birder Chorale, founder and director of the Knights on Broadway, and the executive director of both the Youth Orchestra Program and the Boy and Girl Youth Choirs, all at St. Norbert College.

Kent is an adjunct instructor of music at St. Norbert. He is also the worship and music coordinator, choir director, and organist at Calvary Lutheran Church.

Kent extends special thanks to his amazing wife, Emily, and three kids—Elli (who turns 26 today!), Gretchen and Miles. For fun, Kent occasionally subs in on keyboards for touring Broadway productions including the upcoming production of Wicked in Milwaukee this summer!

DUDLEY BIRDER CHORALE

Dudley Birder, Founder and Artistic Director Emeritus
Dudley Birder was a professor of music at St. Norbert College since 1958 and served as artistic director of St. Norbert College Music Theatre from 1961-2017. Birder founded the chorale that now bears his name in 1974 and officially retired in 2018 after 44 years, He passed away (at 95 years young) on November 26, 2022, surrounded by his family.

History of the chorale
Established in 1974, the chorale presents three to four concerts each year, usually with orchestra. The chorale is a musical organization composed of adult singers from more than 30 communities in northeast Wisconsin who come together to sing choral masterworks. Members can range from 15 years old to seniors. To gain entrance to the chorale, members audition on the basis of vocal quality and basic musicianship.

Each year, the chorale provides scholarship money to students and teachers who excel in choral music. A million-dollar endowment is in place to keep the chorale operating in perpetuity. The chorale is grateful to the community for supporting the endowment and enabling the chorale to contribute glorious vocal music to the culture of northeast Wisconsin.

Learn more at: birderchorale.com
See the program book for a list of today’s singers.

GREEN BAY PREBLE HIGH SCHOOL CHOIRS

The choral program at Preble High School is part of a comprehensive music program and consists of four curricular choirs and an extra-curricular a cappella ensemble. Choral students at PHS have numerous opportunities for enriching experiences including collaborating with exceptional musicians in the Greater Green Bay and Fox Valley region and performing at regional and national events. PHS choral students also participate in the WSMA Honors Project, Solo & Ensemble, and WCDA Honor Choirs and events.

Ms. Kimberly Meader, choir director

Learn more at: preble.gbaps.org
See the program book for a list of today’s singers.

ST. NORBERT YOUTH CHOIRS

The Green Bay Boy & Girl Youth Choirs of St. Norbert College are music performance and education programs for youth emphasizing the development of music skills and understanding. The mission of the organization is to provide quality music instruction with the goal of attaining the highest level of artistic excellence in choral music performance. The Choirs endeavor to enrich the lives of children from all religious, racial, cultural, and economic backgrounds. Through music activities and community involvement, the Choirs help to foster the personal and social growth of the members and promote their sense of self-esteem, accomplishment, and pride.

Founded in 1980 by Audrey Olson, the Green Bay Boy Choir has been an important piece of the greater Green Bay music community. The Girl Choir tradition began on May 11, 1996 when 180 girls became charter members. The program now includes three performing choirs. The music program is based on progressive vocal music instruction and performance readiness. Grades K-12 welcome. Classical music literature forms the foundation for choir instruction. Repertoire includes contemporary, folk, ethnic, sacred, and secular music. More information can be found by visiting gbchoir.org.

SNC YOUTH CHOIRS STAFF
Dr. Sarah Parks, Advanced Choir Director
Mark Peot, Middle Choir Director
Elizabeth Chavez, Elementary Choir Director
Emily Sculliuffo, Middle & Advanced Choir Accompanist
Annie Schneider, Elementary Choir Accompanist
Noah Jenquin, Program Manager
Kent Paulsen, Executive Director

Learn more at: gbchoir.org
See the program book for a list of today’s singers.

APPLETON BOYCHOIR

The Appleton Boychoir, founded in 1979, is celebrating its 46th season of bringing music to Wisconsin’s Fox River Valley. The choir has given musical training to thousands of boys, taking them all over the world and sending them on their way with stronger leadership skills, as well as a life-long love of singing. Many have gone on to successful careers in music, theatre, education, performance, and teaching. Their travels inspired further studies of languages, music history, and people of the places they visited as members of the choir.

The choir performs their own concert series in Appleton, while at the same time regionally with symphony orchestras, other choral ensembles, and on collegiate artist series programs. Recently they were honored to be selected to perform on the program of the North Central American Choral Directors Association conference program in Milwaukee. The choir is annually heard by hundreds of thousands of listeners each Christmas Eve and Christmas Day through their televised broadcasts of A FESTIVAL OF NINE LESSONS AND CAROLS.

As musical ambassadors, the Appleton Boychoir has performed in dozens of countries, bringing their own special zest for choral music to enthusiastic listeners across the globe. The Boys have been on safari in South Africa, on the Great Wall of China, at Machu Picchu in Peru, on glaciers in Iceland, the Acropolis in Athens, and of late, singing for mass at the Vatican in Rome. Music is their medium…friendship their message!

Boasting on average more than 100 treble boy singers any given year, the Appleton Boychoir has had a dramatic impact on the lives of thousands of young men. Through concerts, recording projects, commissions, camps, and tours, the Appleton Boychoir experience has enhanced the lives of each boy.

Kevin Meidl has been the principal conductor of the Appleton Boychoir program since 1983.

APPLETON BOYCHOIR STAFF
Kevin Meidl, Artistic Director/Principal Conductor
Abby Swaagman, Conductor
Anna Frato, Conductor
Doug Dahm, MasterSingers Conductor
Sarah Wheeler, Collaborative Pianist
Kimberly Spielbauer, Collaborative Pianist
Hilary Armstrong, Executive Director
Audrey Moore, Choir Manager

Learn more at: appletonboychoir.com
See the program book for a list of today’s singers.