Brandenburg Concerto No. 4 in G Major, BWV 1049 Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Johann Sebastian Bach

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1 Brandenburg Concerto No. 4 in G Major, BWV 1049 Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Johann Sebastian Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig, Germany Dedicated to Christian Ludwig, the Margrave of Brandenburg, to whom they were sent in hopes of a possible position in Berlin, the six Brandenburg Concertos date from between 1718 and 1721 when Bach was working in Cöthen. The term concerto refers here to the concerto grosso a work for a small group of soloists (called the concertino) pitted against a larger ensemble of instruments (called the ripieno or tutti) as opposed to the solo concerto. Concerti grossi usually have a clear-cut division between the groups, as in Brandenburg Concertos Nos. 1, 2, and 4. The other three use two more evenly matched groups. The fourth of these works, likely one of the last of the Brandenburg Concertos to be composed, is scored for a solo group of two flutes (originally blockflöte, or recorders) and solo violin, along with strings and basso continuo (consisting of harpsichord and a bass instrument, usually cello). The first movement (Allegro) relies on a tried and true technique called ritornello form. Similar to the Classical rondo some fifty years later, this form uses a returning section (simply called the ritornello) to separate entrances of the solo group. In this way, Bach allows a smooth flow between the stunning solos and the ensemble sections, providing formal clarity in the absence of the usual larger orchestral group. The solo flutes usually work as a pair, sometimes in imitation. Bach s solo violin writing is extraordinarily detailed and is as delightful to play as it is to hear. Bach s second movement is a sarabande (a slow and stately Italian dance in triple meter) that features the flutes and relegates the solo violin to more of a supporting role. The finale, marked presto, is a brilliant exercise in fugal counterpoint and ritornello form. In this movement all soloists have a chance to shine and Bach provides ample material to ensure their success. Bach s sixth Brandenburg Concerto dates from 1721 and is scored for more of an ensemble sound. The lack of violins in this work in favor of a pair of old-fashioned viola da gambas is striking. Much of the virtuosity here is actually found in the lower strings. The opening movement is imitative and homogenous. A ritornello punctuates the other episodes, but conciseness always prevails. Bach s lovely second movement is an interesting look at his skill in melodic writing. It ends in a different key than it had at the opening, but this sets up the final gigue with anticipation. The finale is a set of variations on a dance melody.

2 Carmina Burana Carl Orff Born July 10, 1895, in Munich, Germany Died March 29, 1982, in Munich, Germany Although German composer Carl Orff s 1936 Carmina Burana stands alone as an effective piece, he later designated it as part of a trilogy of similar works, entitled Trionfi, for solo singers, chorus, and orchestra. The other two pieces are the 1943 two-part Catulli Carmina, setting the graphically erotic verse of the Roman poet Catullus, and his 1951 Trionfo di Afrodite, which uses ancient poetry to describe marital union. There is no borrowing of melodies from earlier music, but the focus is on characteristics from the Medieval and Renaissance. Strangely, the sentiments and desires expressed in these writings find resonance in the lives and loves of modern men and women. For Carmina Burana, Orff and his collaborator Karl Huber chose excerpts from a collection of poems found in the Abbey of Benediktbueren, which were written by monks to express their longing for the forbidden pleasures of sex and drunkenness, their appreciation of nature, and a decidedly non-religious reverence for the power of fate. Orff designated the work as secular songs for singers and choruses accompanied by instruments and magical images. The work is in five parts a prelude entitled Fortuna Imperatrix Mundi (Fortune, Empress of the World), followed by sections devoted to springtime, the tavern, and the court of love, with a reprise of the prelude at the end of the piece. Set for soprano, tenor, and baritone soloists, mixed chorus, chorus of children, and an orchestra of curious instrumentation, the work consists of newly-composed music that evokes a primitive world in its use of ostinato patterns, simple scalar melodies, and modal harmonies. On several occasions, actions or sentiments in the text are reflected in the orchestra for example, the spinning of the Wheel of Fortune reflected in the ostinato patterns of the opening chorus, and the brilliant effect of a horse s hoofbeats fading into the distance in the chorus Floret silva. Likewise, the vocal soloists are pushed to the limits of their ranges, as in the baritone falsetto pyrotechnics of Ego sum abbas, and the soprano s glorious melisma in Dulcissime. The tenor soloist, in his highest range, depicts a swan roasting on a spit as he sees the gnashing of teeth approaching him, representing the all-too-real horrors of earthly life. From a purely historical standpoint, it is important to remember that Carmina Burana is arguably the most important musical composition to come from Nazi Germany. Only in recent years has the degree to which Orff was sympathetic to Nazi views begun to come to light. Karl Huber, Orff s collaborator on the libretto for Carmina Burana, was one of the founders of the White Rose organization that opposed Hitler s rule. In 1943 he was arrested, tortured, and executed. Orff refused to make any statement to help his friend, then three years later, when being questioned for denazification, falsely claimed to have co-founded White Rose. Although his actions could have been strictly for self-preservation, Orff provides us with exactly the same dilemma as does Wagner. Despite the inevitable pedestal upon which composers eventually reside, it is important to understand their human flaws and weaknesses. Regardless of how despicable Orff s deeds, he remains a unique and important voice with much to say to modern audiences.

3 CARMINA BURANA (SONGS OF BENEDICTBUREN) Cantiones profanae Cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Secular Songs for singers and choruses accompanied by instruments and magical images) FORTUNA IMPERATRIX MUNDI (FORTUNE RULER OF THE WORLD) O Fortuna, velut luna statu variabilis, 3imper crescis aut decrescis; vita detestabilis nunc 3imper3e et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem 25. O Fortuna! O Fortune, Like the moon You are changeable, Always waxing And waning; Detestable life That now oppresses And then comforts us At its whim, Poverty And power Melt like ice. 25. O Fortune! Sors immanis et inanis, rota tu volubilis, Status malus, vana salus 3imper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fate, savage And hollow, You spinning wheel, Staying unlucky. Luck is vain, Is always destroyed. Concealed And veiled, You attack me too; Now, for your sport, I bare my back To your fierce assault. Sors salutis et virtutis michi nunc contraria est affectus et defectus 3imper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! Fate is against me In health And virtue Weakened And failing, Always enslaved. So at this hour Without delay Let everyone pluck the pulsating strings; Since Fate Smites the powerful man, Let everyone Weep with me! 2. Fortune plango vulnera 2. I mourn the wounds of Fortune

4 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; quisquid enim florui felix et beatus, nunc a 4imper corrui 4imper 4imper4e. Fortune rota volvitur: 4imper4 minoratus, alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! Nam sub axe legimus Hecubam reginam. I mourn the wounds Of Fortune With weeping eyes, For the gifts she gave me She rebelliously takes away. Certainly, everyone knows She has much hair in the front, But occasionally She is bald. I used to sit high Upon Fortune s throne, Crowned with the multi-colored Blossoms of prosperity; Indeed, though I flourished Lucky and blessed, Now I tumble from the summit Deprived of glory. Fortune whirls around; I descend, shamed; Someone else is elevated; So high sits The king at the summit, Let him fear ruin! For Queen Hecuba Lurks under the axle. 25. PRIMO VERE (SPRINGTIME) 3. Veris leta facies (SMALL CHORUS) Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono qui cantu 4imper4e44. Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipate 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. 3. The smiling face of spring (SMALL CHORUS) The smiling face of spring Is given to the world, Winter s harshness Flees defeated; Enrobed in many colors, Flora reigns, The forest flatters her With songs of praise. Lying in Flora s lap Phoebus once more laughs, Now covered In multi-colored flowers. Zephyr breathes The nectar scent. Let us rush to vie For the prize of love. Harp-like sings The sweet nightingale, With many flowers The radiant meadows are laughing. Birds dart about The pleasant forests, The chorus of maidens Brings a thousand delights. Omnia sol temperat purus et subtilis, nova mundo reserat faciem Aprilis, ad Amorem properat 4. Onmia sol temperat (BARITONE SOLO) 4. The sun tempers everything (BARITONE SOLO) The sun tempers everything, Pure and gentle, The world reveals April s fresh face, The soul of man

5 animus herilis et iocundus imperat 5imp puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere, vias prebet solitas, et in tuo vere fides est et probitas. Tuum 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. Ecce gratum et optatum ver reducit gaudia; purpuratum floret 5imper, Sol serenat omnia. Iam iam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit, Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera. Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis. 5. Ecce gratum Rushes to love, And the joyful are governed By the youthful god. This great renewal In spring s ritual And power Calls us to rejoice, Shows us again the well-known paths And in spring It is good and proper To hold fast to your mate. Love me faithfully! See the faithfulness: In all of my heart And my whole mind I am with you Even when I am far away. Whoever loves that much Is tortured on the wheel. 5. Behold, the pleasant spring Behold the pleasant And awaited Spring brings back happiness, Purple flowers Fill the fields, The sun brightens everything. Already sadness is ended! Summer returns, Now the ferocity Of winter retreats. Now melts And disappears Hail, snow, and everything else; Winter flees, And spring now sucks At summer s breast; Miserable is he Who does not live Or frolic Under the rule of summer. They boast And rejoice In honeyed sweetness Who endeavor To use Cupid s prize; At Cyprian Venus command Let us boast And rejoice In being equals of Paris.

6 UF DEM ANGER (ON THE MEADOW) Floret silva nobilis, floribus et foliis. Ubi est 6imper6e meus amicus? Hinc equitavit. Eia, quis me amabit? Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? Der ist geriten hinnen, owî, wer sol mich minnen? 6. Tanz (ORCHESTRA) 7. Floret silva nobilis 8. Chramer, gip die varwe mir (SOPRANOS AND CHORUS) Chramer, gip die varwe mir, diu 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 hohen eren schouwen. Seht mich, jungen man! Lat mich iu gevallen. Wol dir Werlt, daz du bist also freudenriche! Ich will dir sin undertan durch din liebe immer sicherliche. Seht mich, jungen man! Lat mich iu gevallen. 6. Dance (ORCHESTRA) 7. The noble woods are blooming The noble woods are blooming With flowers and leaves. Where is the lover I knew long ago? He has ridden away. Oh, who will love me? The woods are blooming all over, I am longing for my lover. The woods are green all over, Where has my lover gone for so long? He has ridden away, Oh woe, who will love me? 8. Clerk, give me rouge (SOPRANOS AND CHORUS) Clerk, give me rouge To make my cheeks red, So that I can make the young men Welcome my love. Look at me, Young men! Let me please you. Good men love Lovely women! Love lifts your spirits And brings you great honor. Look at me, Young men! Let me please you. Hail, world, So rich in joys! I will always be loyal to you Because of the pleasures you give me. Look at me, Young men! Let me please you. Swaz hie gat umbe daz sint alles megede, die wellent an man alle disen sumer gan! 9. Reie 9. Round Dance Those who go round and round Are all maidens Who want to have a man All summer long! Chume, chume, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum uñ mache mich gesunt. Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan! Come, come, my love, I long for you. Sweet rosy lips, Come and make me whole. Those who go round and round Are all maidens Who want to have a man All summer long! 10. Were diu werlt alle min 10. If the world were all mine

7 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. If the world were all mine, From the sea to the Rhine, I would give it up To have the Queen of England Lying in my arms. Estuans interius ira 7imper7e in amaritudine loquor mee menti: factus de 7imper7e, cinis elementi similis sum folio de quo ludunt venti. 11. Estuans interius (BARITONE SOLO) II. IN TABERNA (IN THE TAVERN) Boiling inside With violent rage, Bitterly I speak to myself: Made of matter, Ash of the elements I am like a leaf Teased by the winds. 11. Boiling inside (BARITONE SOLO) Cum sit enim proprium viro 7imper7 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 tenent 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 implicor me vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. If it is the way Of the wise man To build On a foundation of rock, Then I am a fool, Like a flowing stream That never remains Within its set course. I am carried along Like a ship without a navigator, And like a flying bird I am blown by the winds; No chains hold me, No key holds me; I seek other people like me And join up with the wicked. Heaviness of heart Seems like a burden to me; Joking is delightful And sweeter than honeycombs; Whatever Venus commands Is a sweet task, And never dwells In spiritless hearts. I travel the broad path Like a young person, I give in to vice And forget about virtue, More eager for pleasure Than for well-being, Dead in soul I look after my body. 12. Cignus ustus cantat (TENOR SOLO AND MALE CHORUS) Olim lacus colueram, olim pulcher extiteram dum cignus ego fueram. 12. The roast swan sings (TENOR SOLO AND MALE CHORUS) Once I lived on lakes, Once I looked beautiful When I was a swan.

8 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 SOLO 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 8imper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur si quid loquar, audiatur. Quidam ludunt,quidam bibunt quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denundantur, quidam ibi vestiuntur, Quidam saccis induuntur. Ibi nullus timet mortem, sed pro Baccho mittunt sortem. Primo pro nummata vini, ex hac bibunt 8imper8e8; semel bibunt pro captivis, post hec bibunt ter pro vivis, I pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis 8imper8e8, decies pro navigantibus, undecies pro discortantibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege Poor, poor! Now I am black And roasting fiercely! The servant turns me on the spit; I burn fiercely on the pyre; The waiter now serves me up. Poor, poor! Now I am black And roasting fiercely! Now I lie on the platter, And cannot fly, I see bared teeth. Poor, poor! Now I am black And roasting fiercely! 13. I am the abbot (BARITONE SOLO AND MALE CHORUS) I am the abbot of Cockaigne And my congregation are drinkers, And my sect is that of Decius, And whoever finds me in the tavern In the morning will leave naked after Vespers, And, stripped of his garments, will cry out: Wafna, wafna! What have you done, evil Fate? You have stolen All the joys of my life! 14. When we are in the tavern (MALE CHORUS) When we are in the tavern We do not worry how we will return to dust, But we rush to gamble, Which always makes us sweat. If you ask what happens in the tavern, Where money brings more wine, And you may well ask, Then hear what I say. Some gamble, some drink Some behave indiscriminately. But of those who stay and gamble, Some lose their clothes, Others win them, Some wear sackcloth. Here no one fears death, They throw the dice in the name of Bacchus. First for the wine merchant For which the libertines drink; Once they drink for the prisoners, Then three times for the living, Four times to the Christians, Five times for the faithful departed, Six times for the brazen sisters, Seven times for the foot soldiers in the forest. Eight times for the errant brothers, Nine times for the scattered monks, Ten times for the seamen, Eleven times for the quarrelers, Twelve times for the penitent, Thirteen times for the travelers, For the Pope just as for the king

9 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 magnus. 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 9imper, cum immoderate bibunt omnes sine meta, Quamvis bibant mente leta; sic nos rodunt omnes gentes, et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. They all drink freely. The mistress drinks, the master drinks, The soldier drinks, the cleric drinks, The man drinks, the woman drinks, The servant drinks with the maid, The quick man drinks, the slow 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 and the sick man drink, The exile and the stranger drink, The boy drinks, the old man drinks, The bishop and the deacon drink, 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 coins Will not be enough If everyone drinks without limits. Though they may happily drink, Everyone will scold us, And thus we will be destitute. Let those who slander us be cursed, And may their names not be inscribed with the just. III. COUR D AMOURS (THE COURT OF LOVE) 15. Amor volat unique (SOPRANO SOLO AND CHILDRENS CHORUS) Amor volat undique; captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima. Dies nox et omnia michi sunt contraria, virginum colloquia, me fay planszer, oy suvenz suspirer, plu me fay temer. O sodales, 9imper9, vos qui scitis dicite, michi mesto parcite, grand ey dolur attamen 9imper9e9 per voster honur. Tua pulchra facies, me fey planser milies, pectus habet glacies. A remender, statim vivus fierem per un baser. 16. Dies, nox et omnia (BARITONE SOLO) 15. Love flies everywhere (SOPRANO SOLO AND CHILDRENS CHORUS) Love flies everywhere; Seized by desire. Young men and girls Are rightly coupled. The girl without a lover Misses out on all delights; Deepest night holds Her intimate heart In slavery: It is a most bitter thing. 16. Day, night and everything (BARITONE SOLO) Day, night and everything Are against me, The chattering of young girls Makes me weep, And often sigh, And most of all makes me tremble. O friends, entertain yourselves, You who understand, go on, Spare me my sorrow. My grief is great, Advise me at least, By your honor. Your beautiful face And my heart Make me cry a thousand tears. As a remedy, I would be revived By one kiss.

10 17. Stetit puella (SOPRANO SOLO) Stetit puella rufa tunica; Si 10imper10e tetigit, tunica crepuit. Statit puella, tamquam rosula; facie splenduit, os eius floruit. 18. Circa mea pectora (BARITONE SOLO AND CHORUS) Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Mandaliet, Mandaliet, min geselle chumet niet. Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donans tenebris. Mandaliet, Mandaliet, min geselle chumet niet. Vellet 10imp, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Mandaliet, Mandaliet, min geselle chumet niet. 19. Si puer cum puellula (BARITONE SOLO AND SMALL MALE CHORUS) Si puer cum puellula moraretur in cellula, felix coniunctio. Amore suscrescente, 10imper10 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, hyrce, nazaza, trillirivos 17. A girl stood (SOPRANO SOLO) A girl stood In a red tunic; If anyone touched the tunic It rustled. A girl stood Like a little rose; Her face was radiant And her mouth bloomed. 18. In my heart (BARITONE SOLO AND CHORUS) In my heart Are many sighs For your beauty, Which cause me pain. Mandaliet, mandaliet, My lover does not come. Your eyes shine Like the rays of the sun, Like a flash of lightning Brightens the darkness. Mandaliet, mandaliet, My lover does not come. May God grant, may all the gods grant My resolve: To undo the bonds Of her virginity. Mandaliet, mandaliet, My lover does not come. 19. If a boy and a young girl (BARITONE SOLO AND SMALL MALE CHORUS) If a boy and a young girl Dally in a little room, Their coupling is happy. Love rises up Between them And restraint is driven away, An indescribable game begins With their limbs, arms, and lips. 20. Come, come, come (DOUBLE CHORUS) Come, come, come Do not make me die, hyrca, hyrce, nazaza, trillirivos Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, 10imper in te glorior! 21. In trutina (SOPRANO SOLO) In trutina mentis dubia Your beautiful face, Your sparkling eyes, Your braided hair, What a glorious creature! Redder than the rose, Whiter than the lily, More beautiful than anyone else, I glory in you unceasingly! 21. Weighed in the balance (SOPRANO SOLO) Weighed in the balance

11 fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo. 22. Tempus est iocundum (SOPRANO AND BARITONE SOLOS, CHILDRENS CHORUS) Tempus est iocundum, o 11imper11, modo con gaudete vos iuvenes. O, O, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea me confortat promissio, mea me deportat 11imper11e. O, O, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Tempore brumali vir patiens, animo vernali lasciviens. O, O, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea mecum ludit virginitas, mea me detrudit simplicitas. O, O, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo. O, O, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Of my wavering feelings Are lascivious love and chastity. But I choose what I can see, And bend my neck to that yoke: To the sweet yoke I yield. 22. This is the delightful time (SOPRANO AND BARITONE SOLOS, CHILDRENS CHORUS) This is the delightful time O maidens, Rejoice with them, Young men. O, O, I am blossoming all over, I burn all over with my first love for a maiden! New love is what I am dying of! I am consoled by Giving in, I am downcast By my refusal. O, O, I am blossoming all over, I burn all over with my first love for a maiden! New love is what I am dying of! In the winter, Man is patient, The breath of springtime Makes him lust. O, O, I am blossoming all over, I burn all over with my first love for a maiden! New love is what I am dying of! My virginity Makes me frisky. My innocence Holds me back. O, O, I am blossoming all over, I burn all over with my first love for a maiden! New love is what I am dying of! Come, my mistress, With joy. Come, come, my beauty, For I am dying. O, O, I am blossoming all over, I burn all over with my first love for a maiden! New love is what I am dying of! Dulcissime, totam tibi subdo me! 23. Dulcissime! (SOPRANO SOLO) 23. Sweetest one (SOPRANO SOLO) Sweetest one, I give myself to you completely! BLANZIFLOR ET HELENA Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, 24. Ave formosissima 24. Hail, most beautiful one Hail, most beautiful one, Precious jewel, Hail, pride among virgins, Glorious virgin,

12 ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa! Hail, light of the world, Hail, rose of the world, Blanziflor and Helen, Noble Venus! FORTUNA IMPERATRIX MUNDI O Fortuna, velut luna statu variabilis, 12imper crescis aut decrescis; vita detestabilis nunc 12imper12e et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem 25. O Fortuna! O Fortune, Like the moon You are changeable, Always waxing And waning; Detestable life That now oppresses And then comforts us At its whim, Poverty And power Melt like ice. 25. O Fortune Sors immanis et inanis, rota tu volubilis, Status malus, vana salus 12imper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fate, savage And hollow, You spinning wheel, Staying unlucky. Luck is vain, Is always destroyed. Concealed And veiled, You attack me too; Now, for your sport, I bare my back To your fierce assault. Sors salutis et virtutis michi nunc contraria est affectus et defectus 12imper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! Fate is against me In health And virtue Weakened And failing, Always enslaved. So at this hour Without delay Let everyone pluck the pulsating strings; Since Fate Smites the powerful man, Let everyone Weep with me! 2014 Orpheus Music Prose & Craig Doolin