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Produktbeschreibungen
Kurzbeschreibung
Preface/Vorwort - . - Carmina Burana: Fortuna imperatrix mundi: 1. O Fortuna - 2. Fortune plango vulnera - . - I. Primo vere: 3. Veris leta facies - 4. Omnia Sol temperat - 5. Ecce gratum - . - Uff dem Anger: 6. Tanz - 7. Floret silva - 8. Chramer, gip die varwe mir - 9. Reie - Swaz hie gat umbe - Chume, chum geselle min - Swaz hie gat umbe - 10. Were diu werlt alle min - . - II. In Taberna: 11. Estuans interius - 12. Olim lacus colueram - 13. Ego sum abbas - 14. In taberna quando sumus - . - III. Cour d'amours: 15. Amor volat undique - 16. Dies, nox et omnia - 17. Stetit puella - 18. Circa mea pectora - 19. Si puer cum puellula - 20. Veni, veni, venias - 21. In trutina - 22. Tempus est iocundum - 23. Dulcissime - . - Blanziflor et Helena: 24. Ave formosissima - . - Fortuna imperatrix mundi: 25. O Fortuna
Über den Autor
Carl Orff gehört mit Werken wie "Carmina Burana" (1937), "Der Mond" (1939), "Die Kluge" (1943), "Die Bernauerin" (1940) usw. zu den wichtigsten Bühnenkomponisten des 20. Jahrhunderts. Er vertonte auch "Die Weihnachtsgeschichte" (1948), die in viele Sprachen der Welt übersetzt wurde.
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Weitere Informationen
Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format:Taschenbuch
habe mir die Partitur zum Studium der Chorparts zugelegt. Bin nicht klar damit gekommen, da Text wie Noten viel zu klein sind. Der Klavierauszug von Schott ist besser lesbar.
2 von 3 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Über dieses wirkungsmächtige und populäre Werk des 20. Jahrhunderts an sich braucht wohl nichts weiter gesagt werden. Die Studienpartitur hat ein angenehmes Format, ist gut lesbar und einigermaßen preiswert. Das Stichbild ist kein Computer-Satz, sondern ein Scan der originalen Druckausgabe, was ich grundsätzlich begrüße, da ich finde, ein Computer kann nie die Sympathie eines echten Stichs erreichen. Die paar vorhandenen löchrigen Notenlinien hätte man halt doch noch retuschieren können; es geht durch dieses Versäumnis aber keinerlei Information verloren.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
4 Rezensionen
14 von 16 Kunden fanden die folgende Rezension hilfreich
Terrible!
16. Juli 2001
Format:Taschenbuch
This is essentially a text book.
The level of writing makes it appear that this book is intended for the instruction of adolescents, and considering the rather recent date of publication they would have to be remarkably atypically "innocent" for this day and age. The questions intended to stimulate discussion are embarrassingly simpleminded in many cases. It is difficult to imagine that this book wouldn't be laughed out of the classroom by most of today's students.
An appendix in the back of the book contain an acceptable translation of the Latin lyrics by someone other than the author. However, the body of the book contains the author's renderings of the Latin poems as well as her comments. What she has done to the poems is a travesty - even as "free" renderings they go way beyond what is acceptable in giving an unfamiliar audience an understanding of the originals.
This has almost nothing to recommend it - there are many that are better.
6 von 7 Kunden fanden die folgende Rezension hilfreich
This is a very good book.
28. März 2003
Format:Taschenbuch
Sebesta's Cantiones Profanae is excellent as BOTH a textbook and an analysis of this beautiful medieval poetry. Sebesta's translations make for good reading, and the original text with glossaries on the opposing page make this a textbook conducive to both learning and reading for pleasure. We used this book in my university Latin class, and it was both challenging and insightful. It gives a glimpse into medieval European life not often shown in most history classes. I heartily recommend this book.
1 von 2 Kunden fanden die folgende Rezension hilfreich
Adequate, but this subject needs a better book
12. Oktober 2006
Format:Taschenbuch
Carmina Burana has become one of the favorite compositions of the 20th century, Carl Orff's setting of the profane medieval Goliard poems has been performed countless times and the opening movement is recognizable by nearly everybody.
Judith Lynn Sebesta has written a book about the text and Orff's music, while some reviewers seem to think the book is intended for adolescents, the complexities of the questions and the illustrations suggest otherwise.
The information in the book is useful. After an overview of the Goliards and the history of the text, Sebesta breaks the Latin text up into segments. Within these segments are the Latin text with definitions, a poetic English translation, and analysis of the text and Orff's setting of the music. The final section contains an alternate English translation.
There are several great things about this book. First, there's nothing else like this out there right now, so it remains a good source. Sebesta is effective at analyzing the text and areas of special interest. The illustrations are also interesting additions, and the Latin definitions can be helpful. For these reasons, this book is recommended to anyone performing CB.
This book is far from perfect. Sebesta asks direct questions of the reader about the relationship between text and music. While this engages the reader's thought, Sebesta provides few answers, making the book less of a resource.
In addition, the book seems to have a fragmented structure. One has little idea what to expect when one turns to the next page. Moreover, the musical analysis is quite lacking.
Despite its shortcomings, this seems to be the best book out there on the subject. Hopefully there will be a Cambridge Music Handbook or a similar publication regarding CB which will be of the quality which it deserves.
Judith Lynn Sebesta has written a book about the text and Orff's music, while some reviewers seem to think the book is intended for adolescents, the complexities of the questions and the illustrations suggest otherwise.
The information in the book is useful. After an overview of the Goliards and the history of the text, Sebesta breaks the Latin text up into segments. Within these segments are the Latin text with definitions, a poetic English translation, and analysis of the text and Orff's setting of the music. The final section contains an alternate English translation.
There are several great things about this book. First, there's nothing else like this out there right now, so it remains a good source. Sebesta is effective at analyzing the text and areas of special interest. The illustrations are also interesting additions, and the Latin definitions can be helpful. For these reasons, this book is recommended to anyone performing CB.
This book is far from perfect. Sebesta asks direct questions of the reader about the relationship between text and music. While this engages the reader's thought, Sebesta provides few answers, making the book less of a resource.
In addition, the book seems to have a fragmented structure. One has little idea what to expect when one turns to the next page. Moreover, the musical analysis is quite lacking.
Despite its shortcomings, this seems to be the best book out there on the subject. Hopefully there will be a Cambridge Music Handbook or a similar publication regarding CB which will be of the quality which it deserves.
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