Carmina Burana

I spent a delightful Friday evening attending a marvelous event presented by our own northwest Seattle Peace Chorus featuring the Carmina Burana by Carl Orff with the Western Washington University Orchestra.

The theme: Re-creating for the audience, through music and song, the Goliard’s 12th century writings which portray peaceful satirical protest against the Papacy.

The evening began in a most appropriate setting. In the midst of the Seattle urban business center, I am swept back to a more simple artistic point in time upon entering the Town Hall venue.

Once a church constructed in the early 1900’s by the an affluent Christian community, the sanctuary-like setting inspires hushed voices as I weave my way among the curved wooden pews which encircle the stage — formerly the platform for a preachers pulpit. A central domed ceiling with Greek Corinthian-like pillars and fine stained art-glass windows filtering late afternoon light remind me of a quintessential European setting.

A friend from the Chorus recommends sitting close to the percussion section and I take her advice, delighted to be so close to the many instruments awaiting the musicians who command them.

The Chorus opens with 11th century anthems written by Hildegard of Bingen (1098-1179). Between melodic movements a narrative is read which hints the current day mishaps in the Middle East, experienced by those of European decent, are remarkably similar to those encountered by their ancestors during the crusades – a point well taken.

Following 11th century Hildegard’s serenade, exuberant young musicians from Bellingham’s college in northern Washington enter the stage followed by the acclaimed Soprano and Baritone soloists who will be participating in this musical time travel.

. . .And these students are such appropriate participants in this performance of Carmina Burana. As social rebels of the time period, the Goliards, followers of a legendary Bishop Golias, were mainly clerical students at the universities of France, Germany, Spain, Italy, and England who protested the growing contradictions within the Church, such as the failure of the Crusades and financial abuses, expressing themselves through rather risqué song, poetry and performance.

The Carmina Burana opens as well as closes with Fortuna Imperatrix Mundi(Fortune, Empress of the World). Listening to the song via this YouTube link is worth 1000 words. . .

The overall performance was worthy of a PBS special. Sitting in such close proximity of the percussion section, the energy of these young musicians absolutely blew me away. It was if they were one with the music in body, spirit, and rhythm – such a complex performance could not be performed to such a moving degree of incarnation otherwise.
The Seattle Peace Chorus, guest soloists, and WWU students can be assured they would have made their 12th century spiritual kinsmen and kinswomen proud in this magnificent performance.

I walked away with an increased awareness of how the human spirit forever tends to repeat the same mistakes as well as successes, over and over throughout history. I carry with me a feeling of almost existing inside the Carmina Burana masterpiece for a short period of time, woven for my pleasure by these performing artists who portrayed the awe-inspiring tale. . . .

Full text of Carmina Burana can be found here.

The Seattle Peace Chorus
Carl Orff’s Choral masterpiece, “Carmina Burana”
Directed by Fred West

Featuring:
Alexandra Picard, Soprano
Stuart Lutzenhiser, Tenor
Charles Robert Stephens, Baritone
Special guest artist Linda Strandberg, Soprano
With Western Washington University Orchestra, directed by Arthur Shaw

1 Comment