Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi. Carmina Burana avoids overt harmonic complexities, a fact which many musicians and critics have pointed out, such as Ann Powers of The New York Times. Carmina Burana contains little or no development in the classical sense, and polyphony is also conspicuously absent. Orff's style demonstrates a desire for directness of speech and of access. Problems playing this file? See media help. " O Fortuna", the first poem in the Schmeller edition, completes this circle, forming a compositional frame for the work through being both the opening and closing movements. Within each scene, and sometimes within a single movement, the wheel of fortune turns, joy turning to bitterness, and hope turning to grief. (I shall reign, I reign, I have reigned, I am without a realm). The drawing of the wheel found on the first page of the Burana Codex includes four phrases around the outside of the wheel: Much of the compositional structure is based on the idea of the turning Fortuna Wheel. Orff indicates attacca markings between all the movements within each scene. The selection covers a wide range of topics, as familiar in the 13th century as they are in the 21st century: the fickleness of fortune and wealth, the ephemeral nature of life, the joy of the return of Spring, and the pleasures and perils of drinking, gluttony, gambling, and lust.Ĭarmina Burana is structured into five major sections, containing 25 movements in total. Michel Hofmann was a young law student and an enthusiast of Latin and Greek he assisted Orff in the selection and organization of 24 of these poems into a libretto, mostly in secular Latin verse, with a small amount of Middle High German and Old French. In 1934, Orff encountered the 1847 edition of the Carmina Burana by Johann Andreas Schmeller, the original text dating mostly from the 11th or 12th century, including some from the 13th century. " The Wheel of Fortune" from the Codex Buranus
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