Carmina Burana
Notes by Michael-Thomas Foumai
CARL ORFF (1895-1982)
Carmina Burana (1935-36
FORTUNA IMPERATRIX MUNDI
(Fortune, Empress of the World)
1. O Fortuna
2. Fortune plango vulnera
I. PRIMO VERE (In Springtime)
3. Veris leta facies
4. Omnia Sol temperat
5. Ecce gratum
UF DEM ANGER (On the Green)
6. Tanz
7. Floret silva
8. Chramer, gip die varwe mir
9. Reie
10. Were diu werlt alle min
II. IN TABERNA (In the Tavern)
11. Estuans interius
12. Olim lacus colueram
13. Ego sum abbas
14. In taberna quando sumus
III. COUR D’AMOURS (The Court of Love)
15. Amor volat undique
16. Dies, nox et omnia
17. Stetit puella
18. Circa mea pectora
19. Si puer com puellula
20. Veni, veni, venias
21. In trutina
22. Tempus est iocundum
23. Dulcissime
BLANZIFLOR ET HELENA
(Blanziflor and Helena)
24. Ave formosissima
FORTUNA IMPERATRIX MUNDI
(Fortune, Empress of the World)
25. O Fortuna
1930s: FRAMING "FORTUNES"
Fortune, passion, gambling, and drinking are just a few tastes of 11th-13th century temptations taken from the Codex Buranus, a collection of poems by anonymous scholars, discovered in 1803 at a Benedictine abbey in Bavaria, Germany. It is the inspiration behind Carl Orff's mammoth Carmina Burana, composed from 1935-36 and premiered in 1937.
The fortunes of the world spiraled downward in 1937. On March 17, Amelia Earhart, Fred Noonan, Harry Manning, and Paul Mantz arrived in Honolulu, Hawai'i, completing the first leg of a planned world flight. Unfortunately, Earhart’s attempt to take off from Ford Island in Pearl Harbor damaged the Electra, ending the flight altogether. In her second attempt on July 2, this time from a West-to-East trajectory, Earhart’s plane vanished over the Pacific from New Guinea to Howard Island, Australia.
Unrest in the European and Pacific theatres would converge into the Second Great War. Germany's invasion of Poland, the United Kingdom and France launched World War II on September 1, 1939. Japan's invasion of Manchuria in 1931, and the ensuing Second Sino-Japanese War in 1937, set the stage for the bombing of Pearl Harbor in 1941 and America's entry into the war.
CHANGING FORTUNES
In John Boorman's 1981 adaptation of the Arthurian legend Excalibur, Arthur (Nigel Terry) drinks from the Holy Grail. Then, rejuvenated from a magical state, he rallies his forces on horseback against Morgana Le Fay and Mordred, with Orff's O Fortuna blasting as the soundtrack. Orff's mega opus so elevates the changing fortunes of Arthur; its use in the film has been Orff's good fortune. Its full title is Merlin-esque just by length, 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).
In 1803, Bavarian monasteries were secularized. Discovered in the Benedikbeuren Abby (from which the "Burana" in the title is derived), the Codex Buranus was sent to Munich. Court Librarian, Andrea Schmeller, published the manuscripts in 1847 under an invented title, Carmina Burana. Including manuscript poems mainly in Latin and some in Middle High German, French, and Greek, Orff found the subject of his cantata through this publication.
THE WHEEL OF FORTUNE
The first page of the Codex Buranus includes an illustration of a wheel with the inscription: regnabo, regno, regnavi, sum sine regno (I shall reign, I reign, I have reigned, I am without a kingdom). The cantata is constructed to mirror this illustration of changing fortunes, a wheel turning from movement to movement, happiness to sadness, hope to despair, and so on.
There are 24 poems for 25 movements divided into three sections. The first two movements are a prelude illustrating the duality of fortune. Movements 3-10 comprise "Springtime," musings on sensuous and flirtatious awakenings. Movements 11-14 feature only the male voices touching upon drunken debauchery, beer-drinking shenanigans, and bar-talk found "In the Tavern." Movements 14-24 fall under cupid's arrow, erotic desires in "The Court of Love." The last movement (25) is identical to the first movement and swings the wheel of fortune full circle.
Given the sheer size of the source material, poet Michel Hofmann assisted the composer with the libretto and wheel structure. While original melodies were attached to the text, Orff was unaware of their existence. They would not be decrypted and transcribed until 1950, partly because Carmina Burana's success had to come first to instigate renewed interest in the codex.
O FORTUNE!
Carmina Burana premiered on June 8, 1937, with the Frankfurt Opera conducted by Bertil Wetzelsberger, with staging by Otto Wälterlin and costumes by Ludwig Sievert. Orff was dealt fortune's turning wheel; the premiere was an immediate success, but it would remain unperformed to the world until after World War II. Given the work's titillating nature, it's fortunate most of the music is in Latin and likely incomprehensible to all and the most conservative chaste listeners.
Orff's legacy consists of two significant contributions, Carmina Burana and music education. In the 1920s, Orff began to develop with his colleague Gunild Keetman a "child-centered way" of learning music using rudimentary forms of activity, an Orff approach. The composer continued his interest in education, sustained through the fortunes of Carmina Burana's reign. So confident was the composer that after the dress rehearsal, Orff reportedly disavowed himself of any work he composed before, "Everything that I have written up until now…you now can pulp. With Carmina Burana begins my collected works."
Carl Orff was born on July 10, 1895, in Munich, Kingdom of Bavaria, German Empire, and died on March 29, 1982, in Munich, West Germany.
Translation:
Fortune, Empress of the World
FORTUNA IMPERATRIX MUNDI
O Fortune
O Fortune!
Like the moon
ever-changing,
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.
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 your trickery
my naked back
is turned to you unarmed.
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.
1. O Fortuna (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.
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.
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!
I Lament the Wounds That Fortune Deals
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.
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.
The wheel of Fortune turns;
dishonored I fall from grace,
and another is raised on high.
Raised to over dizzy heights of power
the king sits in majesty—
but let him beware his downfall!
For ’neath the axle of Fortune’s wheel
behold Queen Hecuba.
2. Fortune plango vulnera (Chorus)
Fortune plango vulnera
stillantibus ocellis,
quod sua michi munera
subtrahit rebellis.
Verum est, quod legitur
fronte capillata,
sed plerumque sequitur
occasio calvata.
In Fortune solio
sederam elatus,
prosperitatis vario
flore coronatus;
quicquid enim florui
felix et beatus,
nunc a summo corrui
gloria privatus.
Fortune rota volvitur:
descendo minoratus;
alter in altum tollitur;
nimis exaltatus
rex sedet in vertice—
caveat ruinam!
Nam sub axe legimus
Hecubam reginam.
Springtime
I. PRIMO VERE
The Joyous Face of Spring
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.
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.
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.
3. Veris leta facies (Small Chorus)
Veris leta facies
mundo propinatur
hiemalis acies
victa iam fugatur,
in vestitu vario
Flora principatur,
nemorum dulcisono
que cantu celebratur.
Flore fusus gremio
Phebus novo more
risum dat, hoc vario
iam stipatur flore.
Zephyrus nectareo
spirans in odore;
certatim pro bravio
curramus in amore.
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam gaudia millena.
All Things Are Tempered
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.
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.
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.
4. Omnia sol temperat (Baritone)
Omnia sol temperat
purus et subtilis,
novo mundo reserat
faciem Aprilis,
ad amorem properat
animus herilis,
et iocundis imperat
deus puerilis.
Rerum tanta novitas
in solemni vere
et veris auctoritas
iubet nos gaudere;
vias prebet solitas,
et in tuo vere
fides est et probitas
tutum retinere.
Ama me fideliter!
fidem meam nota:
de corde totaliter
et ex mente tota
sum presentialiter
absens in remota.
Quisquis amat taliter,
volvitur in rota.
On The Green
UF DEM ANGER
Dance
The Noble Forest
The noble forest
is decked with flowers and leaves.
Where is my old
my long-lost 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?
Salesman! Give Me Colored Paint
Salesman! give me colored paint,
to paint my cheeks so crimson red,
that I may make these bold young men
whether they will or no, to love me.
Look at me,
young men all!
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,
young men all!
Am I not well pleasing?
Hail to thee, O world that art
in joy so rich and plenteous!
I will ever be in thy debt
surely for thy goodness’s sake!
Look at me,
young men all!
Am I not well pleasing?
Reie
They Who Here Go Dancing Round
They who here go dancing round
are young maidens all
who will go without a man
this whole summer long.
Come, Come, Dear Heart of Mine
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!
Sweetest rosy-colored mouth,
come and make me well again!
Come and make me well again!
Sweetest rosy-colored mouth.
They Who Here Go Dancing Round
They who here go dancing round
are young maidens all,
who will go without a man
This whole summer long.
If the Whole World Were but Mine
If the whole world were but mine
from the sea right to the Rhine,
gladly I’d pass it by
if the queen of England fair
in my arms did lie.
6. Dance (Orchestra)
7. Floret silva (Chorus)
Floret silva nobilis
floribus et foliis.
Ubi est antiquus
meus amicus?
hinc equitavit,
eia, quis me amabit?
Floret silva undique.
nah mime gesellen ist mir we.
Gruonet der walt allenthalben,
wa ist min geselle alse lange?
der ist geriten hinnen,
owi, wer sol mich minnen?
8. Chramer, gip die varwe mir (Chorus)
Chramer, gip die varwe mir,
die min wengel roete,
damit ich die jungen man
an ir dank der minnenliebe noete.
Seht mich an,
jungen man!
lat mich iu gevallen!
Minnet, tugentliche man,
minnecliche frouwen!
minne tuot iu hoch gemuot
unde lat iuch in hohlen eren schouwen.
Seht mich an,
jungen man!
lat mich iu gevallen!
Wol dir, Werlt, das du bist
also freudenriche!
ich wil dir sin undertan
durch din liebe immer sicherliche.
Seht mich an,
jungen man!
lat mich iu gevallen!
9. Reie (Orchestra)
Swaz hie gat umbe (Chorus)
Swaz hie gat umbe,
daz sint allez megede,
die wellent an man
alle disen sumer gan.
Chume, chum geselle min (Small Chorus)
Chume, chum geselle min,
ih enbite harte din,
ih enbite harte din,
chume, chum geselle min.
Suzer roservarwer munt,
chum un mache mich gesunt,
chum un mache mich gesunt,
suzer roservarwer munt.
Swaz hie gat umbe (Chorus)
Swaz hie gat umbe,
daz sint allez megede,
die wellent an man
alle disen sumer gan.
10. Were diu werlt alle min (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.
In The Tavern
II. IN TABERNA
Seething Inside
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.
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.
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.
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.
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.
Once in Lakes I Made My Home
Once in lakes I made my home,
once I dwelt in beauty;
that was when I was a swan.
Alas, poor me!
Now I am black
and roasted to a turn!
On the spit I turn and turn;
the fire roasts me through.
Now I am presented at the feast;
alas, poor me!
Now I am black
and roasted to a turn!
Now in a serving dish I lie,
and can no longer fly.
Gnashing teeth confront me.
Alas, poor me!
Now I am black
and roasted to a turn!
I Am the Abbot
I am the abbot of Cucany
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!
What has thou done, O wicked fate?
All the pleasures of this life
thus to take away!
When We Are in the Tavern
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 say.
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 sackcloth.
There no one is afraid of death
but for Bacchus plays at games of chance.
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.
Eight times to delinquent brothers,
nine to the dispersed monks,
ten times to the navigators,
eleven to those at war,
twelve to the penitent,
thirteen to travelers.
They drink to the pope and king alike;
all drink without restraint.
The mistress drinks, the master drinks,
the soldier drinks, the man of God.
This man drinks, this woman drinks,
the manservant with the serving maid;
the quick man drinks, the sluggard drinks,
the white man and the black man drink,
the steady man drinks, the wanderer drinks,
the simpleton drinks, the wise man drinks.
The poor man drinks, the sick man drinks,
the exile drinks and the unknown;
the boy drinks, the old man drinks,
the bishop drinks and the deacon;
sister drinks and brother drinks,
the old crone drinks, the mother drinks,
this one drinks, that one drinks,
a hundred drink, a thousand drink.
Six hundred coins are not enough
when all these drink too much
and without restraint,
although they drink cheerfully.
Many people censure us,
and we shall always be short of money.
May our critics be confounded
and never be numbered among the just.
11. Estuans interius (Baritone)
Estuans interius
ira vehementi
in amaritudine
loquor mee menti:
factus de materia,
cinis elementi
similis sum folio,
de quo ludunt venti.
Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor,
fluvio labenti
sub eodem tramite
nunquam permanenti.
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.
Mihi cordis gravitas
res videtur gravis;
iocus est amabilis
dulciorque favis;
quicquid Venus imperat,
labor est suavis,
que nunquam in cordibus
habitat ignavis.
Via lata gradior
more iuventutis,
inplicor et vitiis,
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
12. Olim lacus colueram
(Tenor and Male Chorus)
Olim lacus colueram,
olim pulcher extiteram
dum cignus ego fueram.
Miser, miser!
modo niger
et ustus fortiter!
Girat, regirat garcifer;
me rogus urit fortiter:
propinat me nunc dapifer,
Miser, miser!
modo niger
et ustus fortiter!
Nunc in scutella iaceo,
et volitare nequeo,
dentes frendentes video:
Miser, miser!
modo niger
et ustus fortiter!
13. Ego sum abbas
(Baritone and Male Chorus)
Ego sum abbas Cucaniensis
et consilium meum est cum bibulis,
et in secta Decii voluntas mea est,
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:
Wafna, wafna!
quid fecisti sors turpissima?
Nostre vite gaudia
abstulisti omnia!
14. In taberna quando sumus (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,
si quid loquar, audiatur.
Quidam ludunt, quidam bibunt,
Qiudam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur,
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem,
sed pro Bacho mittunt sortem:
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.
Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus,
undecies pro discordantibus,
duodecies pro penitentibus,
tredecies pro iter angentibus.
Tam pro papa quam pro rege,
bibunt omnes sine lege.
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.
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.
Parum sexcente nummate
durant cum immoderate
bibunt omnes sine meta.
Quamvis bibant mente leta;
sic nos rodunt omnes gentes,
et sic erimus egentes.
Qui nos rodunt confudantur
et cum iustis non scribantur.
THE COURTS OF LOVE
III. COUR D’AMOURS
Love Flies Everywhere
Love flies everywhere
and is seized by desire.
Young men and women
are matched together.
If a girl lacks a partner
she misses all the fun;
in the depths of her heart
is darkest night;
it is a bitter fate.
Day, Night, and All the World
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 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.
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.
There Stood a Young Girl
There stood a young girl
in a red tunic;
if anyone touched her
the tunic rustled.
Heigho.
There stood a girl
fair as a rose;
her face was radiant,
her mouth like a flower.
Heigho.
My Breast
My breast
is filled with sighing
for your loveliness,
and I suffer grievously.
Manda liet,
manda liet,
my sweetheart
comes not.
Your eyes shine
like sunlight,
like the splendor of lightning
in the night.
Manda liet,
manda liet,
my sweetheart
comes not.
May God grant, may the gods permit
the plan I have in mind
to undo the bonds
of her virginity.
Manda liet,
manda liet,
my sweetheart
comes not.
If a Boy and a Girl
If a boy and a girl
linger together,
happy is their union;
increasing love
leaves tedious
good sense far behind,
and inexpressible pleasure fills
their limbs, their arms, their lips.
Come, Come, Pray Come
Come, come, pray come,
do not let me die,
hyrca, hyrca, nazaza,
trillirivos ...
Lovely is your face,
the glance of your eyes,
the braids of your hair;
oh, how beautiful you are!
Redder than the rose,
whiter than the lily,
comelier than all the rest;
always I shall glory in you.
In the Scales
In the scales
of my wavering indecision,
physical love and chastity are weighed.
But I choose what I see.
I bow my head in submission
and take on the yoke which is after all sweet.
Pleasant Is the Season
Pleasant is the season,
O maidens,
now rejoice together,
young men.
Oh, oh,
I blossom
now with pure love;
I am on fire!
This love is new, is new,
of which I perish.
My love brings me comfort,
when she promises,
but makes me distraught
with her refusal.
Oh, oh,
I blossom
now with pure love;
I am on fire!
This love is new, is new,
of which I perish.
In wintertime
the man is lazy;
in spring he will get
gaily.
Oh, oh,
I blossom
now with pure love;
I am on fire!
This love is new, is new,
of which I perish.
My chastity
teases me,
but my innocence
holds me back!
Oh, oh,
I blossom,
now with pure young love
I am on fire!
This love is new, is new,
of which I perish.
Come my darling,
come with joy;
come with beauty,
for already I die!
Oh, oh,
I blossom,
now with pure young love
I am on fire!
This love is new, is new,
of which I perish.
Sweetest Boy
Sweetest boy,
I give my all to you!
15. Amor volat undique
(Soprano and Children’s Choir)
Amor volat undique,
captus est libidine.
Iuvenes, iuvencule
coniuguntur merito.
Siqua sine socio,
caret omni gaudio,
tenet noctis infima
sub intimo
cordis in custodia
fit res amarissima.
16. Dies, nox et omnia (Baritone)
Dies, nox et omnia
mihi sunt contraria,
virginum colloquia
me fay planszer,
oy suvenz suspirer,
plu me fay temer.
O sodales, ludite,
vos qui scitis dicite,
michi mesto parcite,
grand ey dolur,
attamen consulite
per voster honur.
Tua pulchra facies,
me fey planszer milies,
pectus habet glacies,
a remender
statim vivus fierem
per un baser.
17. Stetit puella (Soprano)
Stetit puella
rufa tunica;
si quis eam tetigit,
tunica crepuit.
Eia.
Stetit puella,
tamquam rosula;
facie splenduit,
os eius floruit,
Eia.
18. Circa mea pectora (Baritone and Chorus)
Circa mea pectora
multa sunt, suspiria
de tua pulchritudine,
que me ledunt misere.
Manda liet,
manda liet,
min geselle
chumet niet.
Tui lucent oculi
sicut solis radii,
sicut splendor fulguris
lucem donat tenebris.
Manda liet,
manda liet,
min geselle
chumet niet.
Vellet deus, vellent dii,
quod mente proposui,
ut eius virginea
reserassem vincula.
Manda liet,
manda liet,
min geselle
chumet niet.
19. Si puer cum puellula (Male Voices)
Si puer cum puellula
moraretur in cellula,
felix coniunctio.
Amore suscrescente,
pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.
20. Veni, veni, venias (Double Chorus)
Veni, veni, venias,
ne me mori facias,
hyrca, hyrca, nazaza,
trillirivos ...
Pulchra tibi facies,
oculorum acies,
capillorum series,
o quam clara species!
Rosa rubicundior,
lilio candidior,
omnibus formosior,
semper in te glorior!
21. In trutina (Soprano)
In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.
22. Tempus est iocundum
(Soprano, Baritone, Chorus, and Children’s Choir)
Tempus est iocundum,
o virgines,
mondo congaudete
vos iuvenes.
Oh—oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.
Mea me confortat
promissio,
mea me deportat
negatio.
Oh—oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.
Tempore brumali
vir patiens,
animo vernali
lasciviens.
Oh—oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor,
est, quo pereo.
Mea mecum ludit
virginitas,
mea me detrudit
simplicitas.
Oh—oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.
Veni, domicella,
cum gaudio,
veni, veni, pulchra,
iam pereo.
Oh—oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.
23. Dulcissime (Soprano)
Dulcissime,
totam tibi subdo me!
BLANZIFOR AND HELENA
BLANZIFOR ET HELENA
Hail to Thee
Hail to thee, most lovely,
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.
24. Ave formosissima (Chorus)
Ave formosissima,
gemma pretiosa,
ave decus virginum,
virgo gloriosa,
ave mundi luminar
ave mundi rosa,
Blanziflor et Helena,
Venus generosa.
FORTUNE, EMPRESS OF THE WORLD
FORTUNA IMPERATRIX MUNDI
O Fortune!
Like the moon
ever-changing,
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.
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 your trickery
my naked back
is turned to you unarmed.
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.
O Fortuna,
velut Luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curats
ludo mentis aciem,
egestatem,
potestatem
dissolvit ut glaciem.
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.
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!
