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Naturally, the concert was entirely devoted to the cantata of Carl Orff (1895-1982) called Carmina Burana, which incorporates a prologue and three parts consisting of a number of musical movements.
The first movement I would like to describe is Veris Leta Facies, the movement immediately following the prologue and proceeding with its overall tone. According to the rules of Cantata genre, the movement focused mainly on vocal part, with the choirs being accompanied by the pianos and percussion ensemble. The mixed choir parties were mediated by piano and percussion ritornellos. The general atmosphere and tonality hinted at expressionistic coloring of Orff’s work, for the vocal parties sounded rather minor despite a rather lively ritornello at the beginning. Expressionistic nature of the composition was sensed also due to a slight dissonance between the lyrics (the translation of which is in the program) and the tone of music. Moreover, listening to the movement, I was able to identify an allusion to and imitation of medieval music with its simple tonalities and choral singing. Although the movement featured the mixed choir, it resembled much of the monophonic medieval Gregorian chants style. What is also notable about the whole concert and this movement in particular is that the instrumental accompaniment of the Cantata was performed by a minimal number of instruments; though – as far as I know – it is traditionally played with a wide variety of instruments including woodwind and brass sections.
The second movement I would like to write about is – no surprise – one of the most famous classical vocal pieces of nowadays, a movement framing Carmina Burana, its opening and closing. The movement was characterized by a steady rhythm supported by piano and a dramatic choral parties sung by the mixed choir. Approximately, in the middle of the piece, the powerful
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