On a rough background of a musical life of the XX-th century Charles Orffa's music sounds unusually. It do not uplift on a board for adherence to traditions and do not fire for absence of avant-garde extreme measures. In it rare quality is put - it is simple that noble simplicity which submits any audience. Prime ministers of compositions of Orffa collect musical elite of many countries, and thousand children of Salzburg where long lives and are created by this person, with impatience wait for meetings with it, new songs, games, competitions in musical ingenuity, without giving itself the report in that, as songs, both games, and participation in a strange orchestra - all it develops in "ёшё=хьѕ +Ё¶¶р" deeply thought over system of musical education of children. Not only children, but also adults with steadfast attention listen to stories of this beautiful and already elderly person, the stories, capable to carry away and gloomy and cheerful. This magician opens children's hearts a treble clef. And hearts this all life will joyfully respond on truly fine.
Orff - the native of Munich, in the same place it has ended conservatory. Some years then have been given conductor's activity in Mangsjme and Darmstadt. Then there are its early products which are seldom keeping within frameworks of a usual orchestra or ensemble. The spirit creative eksperimentatorstva is very strong in Orffe, is strong in it and aspiration to unite, sdruzhit some different arts under music hegemony. Not at once Orff finds itself, the handwriting. Like many, it is probable to the majority of young composers, it passes in years of temptations, hobbies. Twenty years' the young man it is grasped fashionable then by literary symbolism. Moris Meterlink owns its creative thoughts. Operas "РьхЁ=і Кхэ=рцшы " and " Aglagsena and Рхышчх=р" the symphony with chorus and soloists "Кхяышч№" a symphonic poem "¦юээр -рээр" Have embodied poetic images Meterlinka. Musical speech of Orffa abounds with the turns reminding refinement of Debussy and orchestral eloquence of Riharda Strauss. A new series of searches musical "¶шыюёю¶ёъю go ърьэ " Orffa leads to classics of a XVII-th century. Its music of the ingenious KlaudioMonteverdi (1567-1643), one of founders of an opera especially grasps. Orff creates free edition "+Ё¶¶х " Monteverdi, the original authorised transfer of music - of a XVII-th century into modern musical language. As it is sensitive, preserving style of Monteverdi, it edits fragments from its opera " Ариадна" and a fragment - "Крэхч эхяЁшё=ѕяэ№§". At this Orff keeps the "ёюрт=юЁёъѕ¦" intonation. Carried away ljutnevoj music of XVI century, he composes full of a charm "¦рыхэіъшщ a concert for chembalo and wind instruments шэё=Ёѕьхэ=ют" on ljutnevye the themes amazing with the refined simplicity.
Possibly, studying of creativity of great masters of the past also has learnt it to appreciate above all their wise simplicity, result of huge work directed on otsekanie all superfluous that blacks out sense, prevents to become proportions made. The example of the sculptor releasing ideally proportional figure hidden in a marble block from naplastovany of an unnecessary, amorphous material, - can be transferred and to musical sphere. Charles Orff studies in it at classics. How Orff the composition, a transposition of old music has been carried away, it still had still sufficient charge of inquisitiveness to happen at drama theatres, ballet schools to listen attentively to turmoil of a musical life, let even the most banal. Johann Sebastian Bach expert, the admirer and " general ъюэёѕы" Monteverdi, Orff never showed intolerance to street music. No music could shock it, even dancing okroshka "ьѕч№ъш эртхёхых". In it it is similar to the contemporary Kurta Vail, the author of music well-known "+яхЁ№ эшЁш§".
All written by Orffom to the middle of 30th years, undoubtedly, was of interest, but did not cause it. In Germany these years the curve of occurrence of new pieces of music, occurrence of the new names, new genres day by day rose more and more abruptly. Therefore in turmoil musical " ЁьрЁъш on яыюЁрфш" the name of Orffa sounded not too often.
Charles Orffa's Way to glory went from apart. In XIII century there was a manuscript including verses and songs of students, townspeople, the monks, wandering actors, shpilmanov and other ljuda. In the collection, decencies for the sake of, have given a corner to piety. It is more than all here was songs love, satirical, table, written on several languages: on vulgar (not literary) Latin, Old French, old Bavarian. In 1847 the collection for the first time have published under the name "Carmina burana" - "…ртрЁёъшх яхёэш". Has passed about 90 years, and "-рЁьшэр сѕЁрэр" Orffa has come into the hands. Then its light talent has affected. Having inhaled spirit of the Bavarian olden time, mentally having visited on rural parties, on May dancing games, taverns, in the company of young and elderly idlers, listening to the jokes accompanied booming, as from a wine cask, a laughter, Orff all it and many other things that has come in dream to it behind reading of the precious collection, retells music. So in 1937 the composition for chorus, soloists, dancers and an orchestra "-рЁьшэр сѕЁрэр" was born; which genre the author has defined as "ёчхэшёхёъѕ¦ ърэ=р=ѕ". Taking from the collection of more than twenty songs, Orff has mounted them and has created a dramaturgic composition from 3 parts: "-хёэр" "- =ртхЁэх" and "+ ы¦стш".
Songs glorify the spring nature blossoming under beams of Feba, and the Flora decorating all world by fresh greens. And May of a song welcome that in human hearts it instal love. And the girls asking the wandering dealer to sell by it blush that guys loved them more strong. In a tavern other songs sound: here praise gluttony, sing about feelings of the swan got to a pan and complaining of vicissitudes of life; someone derides church singing, and with special hunting all glorify Bahusa multiplying fun of people. Then there comes a turn to praise love. And in honour of Venus raise a song. But even Venus is subject to Fate. It is all-powerful, it it destinies of people and gods depend. With a hymn, Fate eulogy begins and comes to an end "-рЁьшэр сѕЁрэр".
Solving for Orffa there was an arrival to a genre combining lines of an oratorio, a cantata, an opera, drama performance and choreography elements. For this unusual synthetic genre, in which it is possible to track influence of medieval theatre (but Orffa deprived any kultovosti), had a plan of the triptych including except "-рЁьшэр сѕЁрэр" still "-р=ѕыыш -рЁьшэр" and "КЁшѕь¶ Афродиты".
The Second link of a triptych -"-р=ѕыыш -рЁьшэр". "Рчхэшёхёъшх игры" - so Orff has designated its genre. For a text basis verses of Roman poet Valery Katulla are taken. The composer adds the prologue and epilogue text. In "-р=ѕыыш -рЁьшэр" Valery Katulla's love to Lesbii is sung passionate, full of delights and sufferings. Under this name the notable Roman, beauty Klodija, a whimsical and incorrect beloved of the poet is hidden.
Orff has selected the extremely economical cast: chorus, some soloists and the tool ensemble consisting of 4 grand pianos and a set of the shock. The prologue sounds as the revived scene of a vase-painting, a scene of glorification of a life, love, a youth. Prologue music - an infinite rondo - reminds the round dance sparkling by paints which are carried by on a lawn filled in with the sun. Senile giggling, slastoljubivoe and cynical is unexpectedly distributed: "-¦сюті passes, as whiff тх=Ёр". But voices grown wise experience of aged men not in forces to extinguish life triumph. Through sufferings of the rejected love, painful pricks of jealousy, a sneer of idlers, treachery of friends carries by Katull the feeling. And young men and girls in the ending of scenic game as a torch uplift ardent feeling of Katulla.
The Third link - "КЁшѕь¶ Афродиты" - Orff named "ёчхэшёхёъшь ъюэчхЁ=юь". Here hymns, songs, dances in honour, in praise of love and its goddess of Aphrodite reach ecstatic force and brightness. And again the composer achieves the brightest expressiveness the most simple means. Harmonious language of Orffa simultaneously also is combined and simple, as it is perceived easily, without guarding hearing neprivychnostju. And only at the score analysis it is possible to find out, how the technology of seeming simplicity is unusual and difficult.
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