Отправлено: 07.03.06 16:47. Заголовок: Carmina Burana

Переношу дискуссию о Carmina Burana отсюда – http://medievalmusik.fastbb.ru/index.pl?1-4-0-00000007-000-30-0-1141720907

Drolls пишет:

цитата:

В свое время сборник был официально запрещен Церковью

Tristan пишет:

цитата:

Очень интересно. Откуда дровишки?

Drolls пишет:

цитата:

И.Гинзбург предисловие к переводам "Поэзия вагантов"

Ни в предисловии Льва Гинзбурга, ни в послесловии Михаила Гаспарова к «Поэзии вагантов» нет ни слова о том, что "сборник был официально запрещен Церковью". Хотя бы потому, что не запрещался он Церковью.

Единственно похожим фрагментом в статье Л.Гинзбурга является следующее:
Л. Гинзбург пишет:

цитата:

«Прямым доказательством этому служат стихи и песни вагантов, которые продолжали страшить реакцию на протяжении долгих столетий. Не случайно, что в монастыре Бенедиктбейерн рукопись «Carmina Burana», как запрещенная литература, была упрятана в особый тайник, откуда ее извлекли только в 1806 году».

Вы это свидетельство имели в виду?
Заметьте, даже в этом очень эмоциональном пассаже Л.Гинзбург не позволяет себе утверждать, что Церковь официально запретила Carmina Burana. Не было этого.
И никакой «запрещенной литературой» это сборник не являлся.

Более того, сам факт «тайнохранения» словно запрещенной литературы (заметьте, к чести Гинзбурга фраза его может иметь и такое, лишь сравнивающее СB с запрещенной литературой, толкование) не свидетельствует ни о каком запрете. В противном случае большую часть средневековых музыкальных кодексов следует счесть этой самой запрещенной литературой Скажем, Llibre Vermell de Montserrat. Ну, не нужны они были просто никому на протяжении столетий.

 Отправлено: 06.05.06 16:17. Заголовок: Re:

ainm
Знаете, возможно библиография и какие-то общие размышления по вопросу могут быть и в известном Хопине (это который Richard Hopin - Medieval Music ).

 Отправлено: 14.12.10 17:22. Заголовок: Sequentia cделала лю..

Sequentia cделала любопытный проект с Бостонским симфоническим оркестром. Бостонцы играли Орффа, а Sequentia "натуру".
Как это получилось - не слышал. Видел статью Бэгби о программе. Аннотацию, скорее. Хорошую :). Ниже будут из нее выдержки

 Отправлено: 14.12.10 17:24. Заголовок: The Original Sound o..

The Original Sound of the Carmina burana (c.1230)

In 1937, the Bavarian composer Carl Orff premiered a staged “szenische Kantate” which has since made Carmina burana a household name; but what did the original, medieval music (which neither Orff nor anyone else in his day had heard) sound like? Who composed it? Where does the name come from?

During the secularization of the German monasteries in the early nineteenth century, whole monastic libraries were absorbed by larger, secular institutions. This was also the case at the Benedictine monastery of Benediktbeuren, in Bavaria, whose library was carted off to Munich in 1803. It was at this moment that we hear for the first time of a particularly intriguing 13th century manuscript without a title: 112 parchment leaves containing Latin (and some German) poetry which fascinated scholars and was later baptized “Songs from Benediktbeuren”—Carmina burana. These poems, with their varied—and sometimes scandalous—texts, were immediately noticed, and, during the nineteenth and twentieth centuries, German philologists published several editions, translations, and commentaries, as well as popular editions. The first complete edition, by Johann Christoph Schmeller (1847), which begins with the poem “O Fortuna velut luna,” caught the eye of Carl Orff in 1934, and the rest is history.

Although Schmeller’s title Carmina burana gives us the impression that the contents of this manuscript originated in Benediktbeuren, in fact it is an international collection, the largest Latin songbook to survive from the Middle Ages, including pieces as diverse as German Minnesang and “new music” from the circles of the most advanced Parisian intellectuals of the early thirteenth century. Most of the songs are anonymous, but works by at least six medieval composer-poets can also be found. In this astonishing collection, many genres (with topics that are moralistic, satiric, erotic, or about gambling and drinking, and even liturgical drama) were brought together and copied—probably for an important patron such as a bishop—somewhere in the southernmost Alpine regions of the German-speaking world, perhaps in Seckau (Steiermark), or in Südtirol. How and when the manuscript came to Benediktbeuren must remain a mystery.

 Отправлено: 14.12.10 17:24. Заголовок: During the 1950s and..

During the 1950s and ’60s, as interest in medieval music performance began to grow, a number of musicologists and performers began to realize that these pieces were originally intended to be sung, and some 45 of the surviving 254 Carmina burana poems were found with musical notation in parallel sources (in the manuscript itself, there are only some neumes without a staff for nine of the songs), and ensembles such as Thomas Binkley’s Studio der Frühen Musik made recordings that brought these masterpieces back to life for the first time since the manuscript was copied sometime around 1230. In the last forty years, performances and recordings of the medieval Carmina burana have become a staple of the “historically informed” medieval music scene, but will certainly never rival the popularity of Orff’s setting.

Thanks largely to Carl Orff’s choice of texts for his work, the modern view of Carmina burana is heavily tilted towards the erotic, gambling, and drinking songs, reinforcing our romantic image of those lustily singing, wandering clerical students, the so-called “Goliards.” In fact, many of the original pieces—covering a variety of subjects ranging from tales of classical antiquity (Dido,Hercules, Helen of Troy, etc.) to the political scandals of the medieval church—are subtly crafted, musically virtuosic, and were actually intended for serious performance before the most discerning intellectuals of the age. That such a large spectrum of song, from low-brow to “elite,” can be found in one manuscript attests to the wide-ranging and intense curiosity of the 13th century churchman who probably commissioned this codex. The “Songs of Benediktbeuren” remain today one of the most sublime testimonies to a truly European golden age of poetry and song.