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Многоканальная Музыка > Многоканальная музыка > Аудиозаписи в современных форматах
Clemencic Consort "Carmina Burana", SACD
Codex Buranus - Originalfassung / Original Version

Medieval Songs from the Codex Buranus (13th Century)

Genre: Classical – Vocal, Instrumental

Гибридный SACD 5.0

total 71:58

Clemencic Consort

Marco Ambrosini
nyckelharpa Schlьsselfidel
Jew's harp Maultrommel
bagpipe Dudelsack

Renй Clemencic
recorders Blockflцten
gemshorns Hornflцten

Markus Forster
countertenor Contratenor

Eberhard Kummer
bass-baritone Bassbariton

Wolfgang Reithofer
drums Trommel
tambourin Tambourin
darbuka (clay drum) Darabukka (Tontrommel)

Esmail Vasseghi
dulcimer Hackbrett
drum Trommel
bells Schellen
little bells Glцckchen

Thomas Wimmer
fidel Fidel
medieval lute mittelalterliche Laute
bagpipe Dudelsack

Renй Zosso
vocals Gesang
hurdy gurdy Radleier

Renй Clemencic
direction Leitung

    Carmina Moralia et Satirica
    Moralisch-satirische Lieder
    Songs Of Morale And Satire
  1. Deduc Syon uberrimas CB 34 (02:52)
    Lass, Zion, deine Trдnen flieЯen
    Zion, Let Your Tears Flow In Streams
  2. Ecce torpet probitas CB 3 (03:13)
    Sieh! Stumpf wird die Redlichkeit
    See! Honesty Is Rotted Out
  3. In terra summus rex CB 11 (03:21)
    Heutzutage ist Geld der hцchste Herrscher der Welt
    Today, Money Is The Highest And Mightiest Ruler In The World
  4. Fas et nefas ambulant CB 19 (02:00)
    Recht und Unrecht
    Justice And Injustice
  5. Licet eger CB 8 (01:55)
  6. Flete flenda CB 5 (02:18)
    Beweint, was zu beweinen ist
    Lament the Lamentable
  7. Crucifigat omnes CB 47 (02:07)
    Uns alle schlag ans Kreuz
    Let This Be A Crucification Of Us All
  8. Cur homo torquetur? CB 32 (01:06)
    Warum wird der Mensch gepeinigt?
    Why Is Man Afflicted?

    Carmina Divina
    Geistliche Lieder
    Sacred Songs
  9. Ave nobilis venerabilis Maria CB 11* (03:19)
    GegrьЯet seist du, Maria
    Hail, Mary, Full Of Grace And Pure
  10. Fulget dies Celebris CB 153 (01:01)
    Der hochgerьhmte Tag erstrahlt
    The Highly Praised Day Beams

    Carmina Veris et Amoris
    Frьhlings- und Liebeslieder
    Songs Of Spring And Love
  11. Tempus transit CB 153 (01:50)
    Vergangen ist die kalte Zeit
    The Cold Times Have Passed
  12. Vacillantis trutine CB 108 (06:14)
  13. Bulla fulminante CB 131a (01:19)
  14. Michi confer venditor CB 16* (02:26)
    Hast du, Krдmer, edle Spezereien
    Merchant, Do You Have Noble Spices
  15. Procurans odium CB 12 (04:33)
    Verleumder, die Zwietracht sдen Slanderers
    Who Sow The Seeds Of Discord
  16. Clauso Chronos CB 73 (03:14)
    Aus Chronos' versperrtem Verlies
    From Chronos' Barricaded Dungeon

    Carmina Amoris Infelicis
    Lieder von unglьcklicher Liebe
    Songs Of Unhappy Love
  17. Iste Mundus furibundus CB 24 (02:01)
    Diese Welt voll Raserei
    This Earth Full Of Troubles
  18. Axe Phoebus aureo CB 71 (03:16)
    Phцbus in der goldnen Kutsche
    Phoebus In His Golden Coach
  19. Dulce solum natalis patrie CB 119 (05:21)
    Heitres Land meiner Kindheit
    Pleasant Land Of My Childhood
  20. Sic mea fata canendo solor CB 116 (05:43)
    Ich lindre singend meine Not
    Singing, I Soothe My Pain
  21. Exiit diluculo rustica puella CB 90 (01:05)
    Morgens treibt mit ihrem Stecken ...
    The Farmer's Maid Drives The Cows Out To Pasture
  22. Ich was ein chint so wolgetan CB 185 (03:35)
    Ich war einmal ein braves Mдdchen
    I Once Was Such A Decent Girl

    Carmina Potatorum
  23. Bacche, bene venies CB 200 (03:18)
    Bacchus, sollst willkommen sein
    Bacchus, Come, We Welcome You
  24. In Taberna CB 196 (04:34)
    In der Schenke
    In The Tavern

Executive Producer: Dieter Oehms
Recorded June 13-15, 2008, »Da Capo«, Volksheim Inzersdorf, Vienna, Austria
Recording Producer, Editing & Mastering: Jens Jamin

OehmsCIassics Musikproduktion GmbH (OC 635, 4 260034 866355), 2009
Цитата( буклет )
Ad notam
Carmina Burana

The original Carmina Burana manuscript went to the "Royal Court and Central Library" in Munich after the 1803 secularization of Bavarian monasteries. Because the manuscript had been found in the Benediktbeuern monastery, its first publisher, librarian J. A. Schmeller, gave it the name "Carmina Burana" (Songs from Benediktbeuern). The most recent research shows that the manuscript probably originated in Tyrol before the mid-thirteenth century, or even more probably, in Carinthia (Maria Saal). It represents an extensive collection of "international" Latin lyric poetry dating from the late eleventh to the early thirteenth century.

The existence of other manuscripts from the same period allows us to identify the countries where the songs originated: France (incl. the southern French St. Martial manuscript from the early twelfth century), England, Scotland (St. Andrew), Switzerland (Basel's Carthusian monastery), Spain (Barcelona, Las Huelgas in Catalonia), Germany (Weingarten and other monasteries) and Italy.

While many of the compositions are anonymous, some authors of the poetry are named: Archipoeta (whose existence between 1140 and 1165 is verifiable), archbishop Hugo von Orlйans (1093-1170), Walter von Chвtillon (1135-1182), Peter von Blois (1135-1207), Paris chancellor Philippe de Grиve († 1236) and the archbishop of Canterbury, Stephan Langton († 1228).

Most of the poetry is secular in nature, but the sacred texts are particularly beautiful. With the exception of a few Middle High German texts, the texts are written in the international language of clerics and scholars: Latin. Some of the texts can be designated as vagrant musician or goliard poetry. However, it is often difficult to distinguish between the two terms. The term "vagrant" can be used for all traveling clerics and scholars who only settled down after years of restlessness. The goliards (fпlii goliae) can be termed "bohemians". They combined an inability to remain in one place with a dissolute lifestyle: drinking, gluttony, gambling, loitering and whoring around. Besides distressing and stirringly sociocritical songs, charming spring and love songs, there are also to be found pious songs of contemplation as well as joyous eating and drinking songs.

Some of the poetry in the Carmina Burana manuscript contains melodies that were written by at least six different scribes in neumes without lines. This is the earliest form of European musical notation, and it only shows the general shape of the melody, i.e. the pitches are relative. Due to the existence of the other manuscripts named above, some of the melodies could be recovered. Probably most of the songs would originally have been sung. Melodies for some of the songs in the Carmina Burana manuscript were planned but then not realized. But some of these songs can also be found in other contemporary manuscripts. Some manuscripts contain two- or three-part versions in note-against-note conductus style. Some melodies could also be gained by using the popular medieval technique of contrafact, in which catchy well-known tunes were used as melodies for new texts. An example is the use of the melody of the old Christmas hymn "Fulget dies Celebris" for the text of the love song 'Tempus transit gelidum". The melody proves here to be general enough that it can support a variety of texts.

All previously found Carmina Burana melodies are of enchanting vitality and beauty. In addition to simple folk tunes, one also finds artistically composed melodic lines; simple strophic songs, either with or without a refrain, are found side by side with complex overall forms that follow the poetry in the manner of sequentia. Gregorian chant, sequentia, folk melody, trouvиre, troubadour and minnesinger melodies can be found adjacent to or in combination with each other. I have used the poetic texts in the Carmina Burana manuscript exactly as they are formulated there - correcting only clear scribal errors - even though these texts might occasionally be designated as "depraved" by philologists with a bent for changing or cleaning things up. I wasn't interested in creating a socalled original or ideal version, but simply in rendering verbatim what the scribes recorded in the manuscript. I have thus restricted myself exclusively to the text in this manuscript.

There was an overwhelming abundance of colorful medieval instruments. Many of these came to Europe from the Middle East (lute, dulcimer, rebab, shawm, little drums, tambourine etc.) and long retained much of the original style in which they were played. Musical performance practice of the time can be reconstructed through careful study of written and iconographical records as well as intensive examination of the current musical culture in Sicily, Sardinia, Catalonia and the Middle East. Living musical practice in these countries today is often still comparable to medieval performance practice.
In regard to the practical execution of these works, the Clemencic Consort tries to underscore the "international" character of these songs by relying on different sources of performance practice. Some songs, for example, show various degrees of Arabic musical influence. Also of importance to the ensemble is retaining assorted local accents and mannerisms.

Various versions of the same piece were used on purpose. In addition, every piece with text could just as well have been interpreted during medieval times as an instrumental piece (possibly with a prelude and interludes). As such, it would have no longer been bound to the original mood and content of the text.

Dr. Renй Clemencic

Кармина Бурана известна в первую очередь благодаря Карлу Орффу. На форуме имеется это произведение в исполнении Тильмана и Мета. Кроме этого, есть осовремененная версия (но при этом, как не парадоксально, приближенная к корням – исходному тексту-нотам): Helium Vola "Liod". Здесь же полный возврат к исходному материалу с его возможной реконструкцией музыкальных пропусков (о деталях в буклете). Из инструментов используется буквально всё, что на тот период могло гудеть, пищать, скрипеть, жужжать, звенеть, тренькать, стучать, при этом было переносимо (транспортабельно, стало быть), в том числе и еврейская арфа, по нашему – варган. Ну и, естественно, вокал в разных формах. Тексты (в основном латынь и старогерманский), а они все приводятся, в том числе и в переводе на английский, имеет достаточно грубоватое содержание (фривольное – это очень было бы мягко) из серии дети до 18-ти. В итоге такое веселое, немного балаганное (пьем – гуляем – сношаемся) действо. Рене Клеменсик со своим Консортом славно поработали. В 2006 они с Карминной выступали в Москве, фото (единственное в буклете, ну еще самого руководителя) этого выступления приведено на 2-ой странице буклета. И чем и Москва глянулась, наверное, здесь самые большие ценители Бураны. Запись – симпатичная, хотя пространственность в целом не удовлетворила, ожиданий моих. Поначалу, в паре франтов (стерео) располагаются все инструменты, а остальные три канала отрабатывают довольно звонкое небольшое помещение. Позже, отдельные инструменты (первый – фидл был) появляются несколько сбоку. Т.е. используются 4 канала, а центр только реверберации. А представление по ожиданиям, скорее не сценическое, а доверительно-интимное. Здесь более уместно активное расположение инструментов и более того: их движение, не случайно выделил их транспортабельность. А то получаются ваганты какие-то академисты. Сидят скромненько и поют-играют, а не пьют и танцуют. К сожалению у исполнителей фантазии не хватило, или сила привычки (на сцене же сидят, а не в кабаке), вот только фидл и выкатился в бок, заставив задуматься, как это могло быть представлено.

Музыка – 10
Запись – 10
Многоканальность - 7
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