Carmina Burana XXIII: Dulcissime

Orchestration Tip: Altissimo Soprano Notes
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[@bassface84]

"Dear Sweetest One"... if that doesn't make you melt you probably need a pulse check.

[@roqueavellaneda]

"Write me a four bars phrase" Orff pulls out "Dulcissime"...😮 Very beautiful line and analysis! 👍

[@OrchestrationOnline]

Thanks so much Roque! Much appreciated, and glad to hear that the video hits home.

[@roqueavellaneda]

@@OrchestrationOnline I had a CD with this magical work... I used to listen to it repeatedly back in early 2000s... I still love it!

[@monoverantus]

The added context of how the other songs lead into this... mind blown. Subbed!

[@misi1979]

I'm so happy to see that the " Carmina Burana" project continues...wish You to get all the support You need to continue this magnificent work.! Have a nice summer vacation!

[@OrchestrationOnline]

That's really kind of you, thank you so much. Down here in New Zealand, it's the dead of winter - our summer usually starts in December, of all things. But yeah, the subs are going up, that's really helpful, and I'm really looking forward to launching in a couple months.

[@katbullar]

Another amazing and exciting video!

[@Raffael-Tausend]

How nice of you to use pictures of the Codex Manesse and not some pictures from the 19 century.

[@OrchestrationOnline]

Yeah or AI blech. The Codex Manesse and the original Carmina Burana have tons of great images.

[@satiric_]

Another great preview into how cool this series will be. One minor quibble regarding pronunciation @ 9:32 : in the medieval Latin of Carmina Burana, the "c" of "dulcissime" is usually pronounced as a "ts" sound. (In church Latin, of course it would be a "ch" sound.) But your point of "consonants at high pitches" still stands with either consonant IMO.

[@OrchestrationOnline]

Here I think we have to respect the instincts of the soprano soloists, who opt for the "ch" consonant - and so I follow their pronunciation even though it was probably intended otherwise - but possibly not by Orff, who authorised the Eugen Jochum recording in which soprano Gundula Janowitz uses "ch." Thanks so much for your kind comment. I'm planning one more preview in a month or two, plus a few more Pocket Guide videos.

[@satiric_]

@@OrchestrationOnline ah I see. I thought I was hearing "ts" from the soloist in this video but it's hard to tell.

[@jestemqiqi7647]

@@satiric_ It’s true, she does pronounce it 'ts'. If I’m not mistaken, the audio used is from a performance by the WDR symphony orchestra in Germany and the Soprano is German as well. They use the 'ts' pronunciation of c before i and e throughout, e.g. Circa as tsirka rather than chirka.

[@jitsukerr]

@@OrchestrationOnline When I performed this with Sally Matthews as the soloist, we had a member of the choir who was an expert in Mediaeval High German and Latin, who gave us a pronunciation guide, and was consulted by all of the soloists so as to align the pronunciations of choir and solo texts. For this section, we were told that the change from 'tch" (IPA [t͡ʃ]) to "ts" (IPA [t͡s]) was actively happening in the period, and different parts of what is now Germany were switching at different rates, so an argument could be made for both being valid. I'm definitely hearing the modern German [t͡s] from the soprano soloist in this extract, it's very clear that she's not using the [t͡ʃ] pronunciation.

[@OrchestrationOnline]

@@jestemqiqi7647 You are mistaken here. The audio, as I mention in the credits, is from a performance with Tonhalle-Orchester Zürich in 2022, with Paavo Järvi conducting. As to the WDR recording, go have another listen to it. Sarah Aristodou's consonant is as close to "ch" as one could possibly get, though it's barely pronounced.

[@almendratlilkouatl]

fortune plango next please

[@Noblankit]

Please use the WDR 2022 performance for the audio,it’s the best in my opinion by far,especially with the high baritone soloist parts,the WDR doesn’t sound like he’s killing his voice to get up there

[@OrchestrationOnline]

I am selectively featuring different live performances. The WDR interpretation is excellent, but Sarah Aristodou's approach to this cadenza is too full-bore IMO for the points that I'm making here. Alina Wunderlin is exactly perfect here, and more general in her interpretation than Aristodou, with a sweeter, lighter sound. However, if you watched the entire Altissimo Soprano Notes tip video, you will notice that I used Aristodou and actually analysed her performance on-screen. I will be using several different recordings in future videos (especially once things get rolling), and I'll be treating my audience to some excellent solo performances (including Fischer-Dieskau's baritone part in the Jochum recording).

[@willbrooksy478]

Hey Thomas, I know you mentioned that you compose in your head. Did you always have that ability or did you start off working at a piano

[@OrchestrationOnline]

Hi Will! I always thought of music in my head as a child - like remembering favourite Beatles songs or Beethoven symphonies. When I started composing, I would often think up the idea before writing it out. I used a piano at first, but I found that by developing my inner ear, I needed piano less and less - and I could use my musical memory to hold onto ideas and work them out before writing them down. Eventually I didn't need anything but my inner ear - but it was a process that took a couple decades, from my early teens to my early 30s.