Carl ORFF (1895-1982)
DEUTSCHE GRAMMOPHON The Originals 447 437-2
CARMINA BURANA
Scenic Cantata in 25 movements for soprano, tenor, baritone, boys' choir, choir and orchestraDIETRICH FISCHER-DIESKAU baritone
GUNDULA JANOWITZ soprano
GERHARD STOLZE tenorSchoneberger Sangerknaben · Chorus and Orchestra of the Deutschen Oper Berlin
conducted by EUGEN JOCHUM
[56'11"] mid-priceIncludes full texts with translations in English.
by Ng Yeuk Fan
Throughout Orff's life, there was always a fascination with the elemental force of rhythm. This, together with the influence of Bartok and Stravinsky, he sought to introduce an archaic, folkloristic element into his works - repeatedly simplifying his musical language and delving into subliminal levels of cultic magic. In contrast to other composers of his period such as Prokofiev, Hindemith, Milhaud and Hartmann, Orff stuck closely to stylistic devices that were deemed to have long since exhausted their use - risking the labels regressive and reactionary. Nevertheless, there are clear and conscious aesthetic principles behind Orff's approach and the results speak for themselves, well within the diatonic melodies and clear-cut major/minor harmonies when compared to the experiments of Schoenberg, Webern and Berg.
In this famous recording, the chorus sounds more characterful than most of those that sound engineers have applied 'gloss' and smoothened out all irregularities. This one is left mostly on its own - as recorded, slightly on the rough side with individual voices audible apart from the choral sound. As a result, it is possible to tell that the tenors are light and rather thin. The ladies chorus reveal their small voices, troubled by a distracting vibrato and flat top notes in their solo parts in "Floret silva" and in the female chorus "Chramer, gip die varwe mir". Further, when singing in the loud parts, the entire male section can degenerate into rather rough singing - bordering on shouting - this, however, works to their advantage in exciting and energetic numbers like "Ecce gratum" and "Swaz hie gat umbe ...".
The use of an authentic children's chorus is effective and adds much to the atmosphere intended in this recording, said to be approved by Carl Orff himself. This may lend weight to the original recording, though I doubt that this current remastering and release in mid-price is the 'same' recording - given the very thorough re-engineering. Buyers would be better served judging for themselves the merits of this release.
Gerhard Stolz is excellent as the Swan - lots of humorous sound painting - a credible counter-voice that is evocative of the strangled sound of the roasted swan makes his reading of this part one of the most admirable interpretations in my memory.
Dietrich Fischer-Dieskau is a very refined baritone soloist - perhaps too refined for his role in the tavern. However, when you hear his account of "Omnia Sol temperat" and "Dies, nox et omnia", both imbued with perfect vocal nuance and colour, it is very possible to re-think this baritone solo again and accept his very artistic reading. Good also, is his reading of "Circa mea pectora".
However, there are clearly parts that are not suitable for his voice. I felt that the semi-quaver notes in his "Estuans interius" were a bit too short - not a problem of Jochum but rather, Fischer-Dieskau choosing to syncopate it extremely short. Though his long legato lines are rock solid and beautiful - one realises that this voice is somehow still too refined for the role. Another example that does not work is his part with the reduced men's chorus "Si puer cum puellula". Further, the drunkard aria "Ego sum abbas" also does not quite convince. Though Dieskau is credible acting the part (vocally), his accent gives him away. The choice between this disc and Eugene Ormandy's very recommended version on Sony Classical SBK47668 will probably depend on whether you are a DFD fan.
Gundula Janowitz (left) is perfect in her interpretation. There is nothing to fault. Hear her beautiful aria "Stetit puella" complete with top notes, fascinating suspended lines, all flowing with shimmering magnetism. A close to perfect intonation in the extremely difficult "Dulcissime" again demonstrates the superb technique of this mostly underrated singer.
The recording is slightly off-balanced on the bright side. Upper mid-range tones are a bit compressed and as a result, the recording can sound tight and uncomfortable to experienced ears. But only hi-fi connoisseurs need worry about this flaw in the sound quality.
Eugen Jochum (right) conjures such a wonderful sound from the orchestra - it is controlled, well-proportioned and subtly nuanced. Listen to the various alterations of loud and soft in "In taberna quando sumus", one can hear Jochum in perfect control and in every small part - due to Orff's reductionist scoring - is given the necessarily correct placement in the larger order of things. The chorus is allowed to build slowly to a very effective climax.
At certain loud parts, the simple scoring becomes slightly audible in Jochum's reading - coming close to empty - though this is not necessary bad, there is a sense of thinness of sound that worries me, especially so when coupled with the sonic compression in the upper range (see later). There is some very beautiful playing from the brass all throughout. Listen to "Were diu welt alle min" to hear them - excellent trumpets! This is altogether a very exciting reading from Jochum's perspective. One feels the need to get up and dance in his fast and flighty numbers. If not for the sound quality lacking in full fidelity - Jochum's tempos would have me breathless.
In Singapore, this CD is available at or can be ordered from Borders (Wheelock Place), Tower (Pacific Plaza & Suntec City) or HMV (The Heeren).
Ng Yeuk Fan would rather have roasted duck, but delicious roasted baby pigeons from Hong Kong's night market would be better.
Back to the Classical Index!... or read previous choral reviews and features in the Inkpot archives.Other classical music reviews by this or any other writer can be obtained from the InkVault by doing a key word search with the writer's name.
383: 20.1.1999 ©Ng Yeuk Fan
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