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CARMINA BURANACANTIONES PROFANAE BY CARL ORFF (I895-I982)

MEREDITH NUTTERSOPRANO

DAVID ~ACKENBUSHTENOR

RAPHAELRADABARITONE

TOMOKODEGUCHI6'jANICE BRADNERDUo-PIANISTS

MICHAEL WILLIAMSTIMPANI

JAMES CANNON,jONATHAN llA.RRIS, ADAM SNOWPERCUSSION

CHILDREN'SCHORUSPREPAREDByBECKySTATONANDSHIRLEYJ'ISHBURNE

DAVID LOWRYCONDUCTOR

SUNDAY,NOVEMBER 20, 200.S- 4:00 P.M.MCBRYDE HALL

WINTHROP UNIVERSITY, ROCK HILL, SOUTH CAROLINA

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More in our Twenty-fiftb Anniversary Tear

Mozart~sRequiemPlus Mozart's Oboe Concerto with Hollis Ulaky

Sunday, March 26, 2006 - 4:00 p.m.James F. Byrnes Auditorium, Winthrop University

Jennifer Hough, Helene Tintes-Schuermann, Craig Collins,Jacob WillThe Winthrop Chorale, Katherine Kinsey, DBirector

York County Choral SocietyMembers of the Charlotte Symphony Orchestra

David Lowry, Conductor

GalaDinner with concert by South Carolina'sThree Baritones

Hal McIntosh, Marc Rattray,]acob WillFriday, April 28,2006 - 7:00 p.m.

City Club of Rock HillPlus a silent auction of 25 works of artTicket sale information coming soon

Washington National CathedralJuly I3-I6,2006

The YCCS will sing three Evensongs and the Sunday Eucharist

Visit our Web Sitewww.YorkCountyChoralSociety.org

YCCSBOARDOF DIRECTORSMICHAEL DAVIS, PRESIDENT

JANE HUDSON, PRESIDENT-ELECTPRISCILLAJENNINGS, SECRETARY JEFF CULP, TREASURER

AMANDA CAINES, PuBLICITY/W'EBMASTERDOROTHY AMICK, PAGE CONNELLY, DOUG GAY

TERRY HUDSON, BETHJOHNS NINA LYNCH, DONALD G. MOE,MARy Moss, STEVE VOGEL, MARIAN WILSON, EX OFFICIO

DAVID LOWRY Al'ID SHIRLEY FISHBURNE, CO-FOUNDERS, EX OFFICIO

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PROGRAMSuite No.2, Op. 17

Introduction\Valtz

SergeiRachmaninoff(1873-1943)

The Bradner-Deguchi Piano Duo

Carmina Burana

The text of this work begins onpage 7.

CarlOrff(1895-1982)

Orff and CarminaBurana

. We often regard the horrors of World Wars I & II both as significant deterrents and significant influences on.20 th century music. Prior to WWI the Russian revolution landed significant persons such as Stravinsky in Paris,sipping libation in cafes with the likes of Debussy. Incredibly daring things were taking place in Vienna withcomposers the likes of Berg and Schoenberg. Most were working hard to find new ways to organize the 12 tones of themusical scale.

It was in the 30S (between wars) that Carl Orff became a major contributor to methods of music education,some that continue in use today. His work was in Germany. He worked very hard to make music a vital culturalstability. It wasn't until age 41 (in 1937) that he came upon the corpus of poems from an abbey outside of Munich, theBenedicktbeuern, a collection discovered in the early 19thcentury and first published in 1847 by scholar JohannSchmeller, who named the corpus of poetry "Carmina Burana" which means "Songs from Bavaria."

Some of the texts in this 13th_14thcentury collection are actually sacred, but the monks who put these poemstogether were casting a cynical eye on the ways of the world-historians will testify that today's secular world hasn'tany edge over the secular worlds of the middle ages. Thus satirical poetry and shameless depiction of secularvulnerability are substituted for the pietistic devotions one would expect in a monastic document. It's sort of likeinduding a fewMichaelJackson songs in a hymnal (such as putting "Don't stop 'til you get enough" on the page before"Silent night"). The first text selected by Orff is a satirical hymn to Fortune, the goddess of Luck, with fair warningabout her dangers. In fact the image on the opening page is not a religious symbol, but a wheel of Fortune. Little isknown if the intentions of these monks became an effective tool in Bavaria.

Orff found inspiration in the secular texts and wrote this "profane cantata." Its musical success so pleased himthat he mandated virtually all his compositions prior to 1937 to be destroyed. While other composers searched for"new" ways to arrange the 12pitches of music and the rhythms to which they are attached, Orff, perhaps through hisgreat sensitivity to music education, chose "simplicity" of setting words to music.

As delightful as that sounds, the poems exist in Medieval Latin and Middle High German. Both languages areimpossible to translate into useable English to fit the notes of the music. So a modern chorus must deal with a fewhundred words they've never seen before. Audiences get to hear impelling rhythms, straightforward music ideas, and achorus having a lot of fun. David Lowry

About our GuestArtistsMEREDITH NUTTER, SOPRANOA native of Rock Hill, South Carolina, Dr. Nutter received her Doctor of Musical Arts degree in Vocal Performancefrom the University of South Carolina in December of 2003. She graduated with honors from Winthrop Universitywith both her undergraduate and masters degrees. She now serves as a lecturer in opera workshop, diction, and appliedvoice at Winthrop University. She recently made her directorial debut in Winthrop Opera Theatre's March 2004production of Gilbert and Sullivan's The Gondoliers. At Winthrop, Dr. Nutter has performed lead roles in Bock's Diaryof Adam and Eve, Menotti's The Telephone,Weber's Abu Hassan, and Loewe's Brigadoon. Most recently, she performedthe role of Norina in Opera at USC's production of Don Pasquale. With Opera at USC, she also performed the roles ofPuccini's Gianni Scbiccbi and Donizetti's L'Elisir d'Amore. She has to her credit Handel's Messiah and the premiere ofJack Gottlieb's Psalmistry. She is a member ofNATS, Pi Kappa Lambda, Phi Kappa Phi, and Delta Omicron.

DAVID QUACKENBUSH, TENORAs oratorio soloist tenor, David Quackenbush has sung with orchestras and community choral groups throughoutNorth and South Carolina and regularly served as featured soloist with the Palmetto Mastersingers and the Sandlapper

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ACKNOWLEDGEMENTSOakland Baptist Church • Amanda Caines, Webmaster· Artie Lieberman's Mallet Instrument Service

Dr. Donald Rogers &Winthrop University College of Visual and Performing Arts, Department of MusicBecky Staton and Shirley Fishburne for preparation of the Children's Chorus

THE YORK COUNTY CHORAL SOCIETY IS AMEMBER OF THE COMBINED ARTS FUND, INC.,FROM WHICH IT RECEIVES PARTIAL FUNDING FOR ITS OPERATION.

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4Singers of Columbia, which he co-founded with his wife Dr. Lillian Quackenbush in 1996.On two occasions as guestfaculty soloist with the University of South Carolina Concert Choir he performed Messiahon a tour of Spain and .Mozart at Lincoln Center for the Mostly Mozart series. He recently sang the tenor solos in Orff's Carmina Burana withthe S. C. Philharmonic. Mr. Quackenbush is the tenor soloist at Shandon Presbyterian Church in Columbia, as well asa pharmacist. He has been a frequent performer on the theatre stages of Columbia and Charleston, appearing inleading roles with Workshop, Town and Upstage Theatres in Columbia, and with the Charleston Opera Company andthe Lyric Opera in Columbia. His Gilbert and Sullivanroles are numerous. This is Mr. Quackenbush's secondappearance with the YCCS.

RAPHAELRADA, BARITONERaphael Ramiro S. Rada, baritone, graduated from Winthrop University with a Master's degree in vocal performanceunder the tutelage ofJerry Helton. A Quezon City native, Rada received his undergraduate degrees in music educationand voice performance at the University of Santo Tomas in Manila, Philippines. He has appeared in numerous recitals,concerts and opera performances with the University of Santo Tomas Symphony Orchestra as well as with thePhilippine Philharmonic Orchestra at the Cultural Center of the Philippines. He has also performed in many concertsand opera performances in the USA, specifically at Winthrop University and at the University of South Carolina. Hewas twice a South Carolina winner and South East Region Finalist at the Metropolitan Opera National Competitions.He is currently studying voice with Dr. Donald Gray and is a candidate for the degree Doctor of Musical Arts at theUniversity of South Carolina.

THE BRADNER-DEGUCHI PIANO Duo

JANICE BRADNER, pianist, received her Bachelor of Music from the University of North Carolina at Greensboro,studying with Dr. George Kiorpes, and Master of Music from Winthrop University where she studied with Dr. EugeneBarban. Ms. Bradner is currently an instructor at Winthrop coordinating the piano proficiency program, and teachingsecondary piano and accompanying. She was staff accompanist at Winthrop for seven years, and now accompaniesfaculty and graduate recitals. As a free-lance accompanist in the Charlotte area, Ms. Bradner collaborates withmusicians of the Charlotte Symphony for solo and chamber recitals and recordings. This past fallMrs. Bradnerparticipated in the Society of Composers Regional conference, performing a composition by Craig Bove. Beforejoining the faculty at Winthrop, Ms. Bradner taught theory, class and private piano, and piano ensemble at CentralPiedmont Community College in Charlotte, NC.

TOMOKO DEGUCHI began her performing career while inJapan, focusing on contemporary music. She has been afeatured performer in many concerts of chamber and concerto series. In 1996, she was selected one of the six finalistsin the Crane Festival of New Music, National Student Performers Competition, and performed at the State Universityof New York at Potsdam. She was the 1998Concerto Competition winner at the University of Wyoming. In the sameyear, she was invited as a guest performer at the Northern Illinois University, where she did a recording for her firstsolo piano album "Syncopated Lady," featuring works of members of the American Composers Forum, which wasreleased inJune 1999 from Capstone Records. Ms. Deguchi is a lecturer at Winthrop University where she teachesmusic theory courses. She holds the degree Ph.D. in music theory from State University of New York at Buffalo, aMasters degree in Music Theory from University of Wyoming, and the Bachelor's and Master's degrees in MusicEducation from Kobe University,Japan.

B.MICHAEL WILLIAMS is Professor of Music and Director of Percussion Studies at Winthrop University. Active asa performer and clinician in both symphonic and world music, Williams has performed with the Charlotte Symphony,Lansing (MI) Symphony, Brevard Music Center Festival Orchestra, and the Civic Orchestra of Chicago, and hasappeared at four Percussive Arts Society International Conventions. He is most active as a published scholar inprofessional journals. He is the recipient of the Winthrop University Distinguished Professor Award, the highesthonor e=to a Winthrop faculty member. A composer of innovative works for percussion, his "Four Solos for FrameDrums' was the first published composition for the medium. There additional published works for marimba ensemble,djembe. His recently-released CD recording, BataMbira, with Grammy-nominated percussionist and producer MichaelSpiro, has been featured on National Public Radio and other broadcasts nationwide.

Dr. Williams is joined in this performance by ADAM SNOW, adjunct instructor of percussion at Winthrop;JAMES CANNON, percussion graduate assistant; and JONATHAN HARRIS, a Winthrop undergraduate percussionperformance major.

YCCS SINGING MEMBERS(*Denotes memberswho sang in the first performance of YCCS,April 4, 1982.

tDenotes members singingin the SmallChorus and short solos.)Ann Adams rVeta Evans· tDonald MoeLilAdickes Ashley Faison trim MoeDoris Bienz Barbara Ferrara MaryMosst Patsy Black *Chris Fischesser MaryNorton

tBradley Brown Laura Gellin Jim Olsont Amanda Caines Chip Grant Chasta ParkerLinda Caines tMichael Henthorn tIrene PointonAshleyCapps tJane Hudson Bettye Rawls*SaraCastillo Terry Hudson tGreg Reynoldst Andy Castillo *LindaHutchison t LarryRichardsBillCastillo *PriscillaJennings Betty Salmond*AnnCody BethJohns Linda Shealy

Katherine Collier tPatJohnson KimberlyStoneSharon Collins "SusanKelly Linda Sutton*PageConnelly Jennifer Landsly Karen Talewsky"Martha Cowan Dan Lawson *MargaretAnnTiceDave Cowan tLinwood Little SusanVogelLinda Craft Nina Lynch tSteve Vogelt*JeffCulp Anne McCulloch AlWardtFaye Daniel John McCulloch tEd WestMichael Davis tJ. L. McDaniel Carrot WilliamsBillDavis *AileenMcGowan tWendy Wingard-Gay

t Miriam Mick

CHILDREN'S CHORUSRenee Blankenship,BayleeBrown,Mary LesslieCulp, Kotone Deguchi, Austin Lee,

SarahLynch,MaggieOrr, Elizabeth Sturgis,AngelaWilliams, Patrick Williams, SarahWilliams

YCCS PATRON MEMBERSHIPSYCCSCLUB

Martha and David CowanFrances and Michael Davis

Priscillaand WilliamJenningsPat andMickeyJohnson

ASSOCIATEAnn andJacob Adams

Page and Carolyn ConnellyGinny Davis

Peter andMignon EayreDrs. Shirleyand Cory FishburneDrs. Charles and GwendolynFossDennis and Lynne GettlefingerLinda and Hiram Hutchison

Ellen B. LaneMildred and Grady Lane

Mrs. Doris LeitnerAnne andJohn McCulloch"

Bob and MaryMossJim Olson

Irene and DouglasPointonMargaret A. Tice

Earl and Elizabeth Wilcox

MOZART MEMBERBecca and Harry Dalton

MichaelW. Davis,DMD,PAMartha and Toby Haynsworth

Wayne and Nina Lynch

SPONSORINGLilAdickesD.H.Amick

Amanda CainesDavid and Linda CainesRay and Emma Doughty

Mary R. HardinCurtis and Bettye RawlsSteve and SusanVogel

PATRONWil and Doris Bienz

Patsy BlackDoris B. Blough

Carolyn CarpenterBilland SaraCastillo

AnnF. CodySharon Collinsand Gordon

BrookfieldAl and FayeDaniel

Richard and LaVeta D. EvansLynnHornsby

Beth SchraderJohnsSusanand ReggieKelly

Mr. andMrs. Worth A. KendallDaniel LawsonLouiseC. Lesslie

Mr. andMrs. William H. ReadLarry and EvieRichards

Betty SalmondGerry and BarbaraSchapiro

Alphia SchraderAngelineSturgisDorothy J. Tait

Brook andMarie ToddBettye and Don Triplett

Two's CompanyNeedlepointDr. and Mrs. T. Mark VerderyMr. andMrs.]' EdwinWest

Henry A.Wilson

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Greetingsfrom the President of the reesOn behalf of the Board of Directors and singers of the York County Choral Society, I want towelcome you to our 25thseason of providing quality choral music, and we hope you will have adelightful concert experience. This special season begins with our first performance of Carl OrffsCARMINA BURANA, which was first fully staged in 1937.Using a collection of earthy 13thcenturytexts, Orff produced a choral work that became the most popular of the 20thCentury.

As you follow the lyrics of CARMINA BURANA, you can see that the student writers in the13thcentury certainly had Springtime on their minds, and as the YCCS prepares for Spring of 2006,we look forward to bringing you the magnificent RE~IEM of Wolfgang Amadeus Mozart. It willbe performed in February in Columbia with other choral groups with Donald Portnoy conductingthe use Symphony. A month later, in our 25thyear and the 250th anniversary of Mozart's birth, wewill perform the RE~IEM here in Byrnes Auditorium with the Winthrop Chorale and members ofthe Charlotte Symphonx conducted by David Lowry.

To finish our 25 h season, the YCCS will have the distinct honor of being in residence at theWashington National Cathedral, July 13-16,2006, and we hope to precede our trip with one or twofree local concerts that will feature the music we will use in Washington.. We thank all those who make these programs possible, especially our Patrons and ourSeason Ticket subscribers, and we are grateful to our talented soloists and accompanists and toWinthrop University. Thanks also to those who are so essential for the day-to-dayactivities of theYCCS: David Lowry, co-founder and director; Susan Reed, rehearsal accompanist and vocal coach;Oakland Baptist Church for our rehearsal venue; and the Arts Council.

Michael Davis

* * *The York County Choral Society began inJanuary of 1982with an enthusiastic and large group of peoplewho wanted to sing in a community chorus. Throughout the last 25years patron support and eventually ArtsCouncil support have enabled the YCCS to maintain a successful program presenting major choral works withappropriate accompaniment. The chorus has traveled with concerts to Raleigh, Columbia, Charleston,Cheraw, York, Lancaster, and Chester, aswell as two tours in the United Kingdom with a residency at St.David's Cathedral, Wales, and concerts and Evensongs in Gloucestershire, Northumberland, and in thecathedrals in Lincoln, Durham, Bangor, Edinburgh and Dublin. This coming summer of 2006, the YCCS willbe in residence four days at the Washington National Cathedral, singing three Evensongs and the SundayEucharist. The founders and chorus continue to be very proud to represent York County with work preparedby local citizens who are committed to the extraordinary discipline and time it takes to prepare.

Shirley Fishburne is the co-founder of the York County Choral Society. She is a graduate of WinthropUniversity and has graduate degrees from Winthrop and the University of North Carolina at Greensboro. Dr.Fishburne lives in Rock Hill and is an organist and music educator. She was the organist for the first YCCStour of England and often appears with the Choral Society in concerts. She recently has appeared as concertorganist in eight cities in the Carolinas and Georgia as co-chair of a Winthrop Alumni committee seeking$400,000 for the restoration of the Aeolian-Skinner Organ in Winthrop's Byrnes Auditorium.

David Lowry is the co-founder of the YCCS and its Music Director and Conductor. He holds degrees fromthe Baldwin-Wallace Conservatory of Music in Cleveland, Union Theological Seminary School of SacredMusic in New York, and the University of North Texas in Denton. Additional studies include the HaarlemAcademy for Organists in the Netherlands and New College, Oxford University. After his 1965appointmentat Winthrop University, where he is now Professor Emeritus (continuing to teach), he became active as aconcert organist, conductor, consultant, composer, church musician, and leader in professional organizations.He is a past president of the Association of Anglican Musicians and a past dean of the Charlotte Chapter,American Guild of Organists. In 2002 he was awarded the HonRSCM by the Royal School of Church Musicin a celebration at St. Asaph Cathedral in north Wales for his work of 21years with the Royal School ofChurch Music in America. He is currently the Parish Musician of the Episcopal Church of the GoodShepherd, Columbia. With trumpeter Michael Miller he appears on the ProOrgano label CD, Breaking Ground.Winthrop University recently contracted him as Curator for the Restoration of the D. B.Johnson MemorialAeolian-Skinner Organ on which he has been teaching for 40 of the organ's 50-year history.

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CA'RMINA 8URANA prosperitatis varioflore coronatus;

FORTUNA IMPERA TRIX MUNDI(FORTUNE, EMPRESS OF THE WORLD)

1.o FORTUNA(0FORTUNE)(Chorus)o Fortunavelutlunastatu variabilis,semper crescisaut decrescis;vita detestabilisnunc obduratet tunc curatJudomentis aciem,egestatem,potestatemdissolvit ut glaciem.

Sors immanisetinanis,rota tu volubilis,status malus,vanasalussemper dissolubilis,obumbrataet velatamichi quoque niteris;nunc per ludumdorsum nudumfero tui sceleris.

Sors salutiset virtutismichi nunc contraria,est affectuset defectussemper in angaria.Hac in horasine moracorde pulsum tangite;quod per sortemslernit for/em,mecum omnes plangite!

quicquid enim floruifelix et beatus,nunc a summo coiruigloria privatus.

o Fortune,like the moonyou are changeable,ever waxingand waning;hateful lifefirst oppressesand then soothesas fancy takes it;povertyand powerit melts them like ice.

Fortune rota volvitur:descendo minoratus;alter in altum tollitur;nimis exaJtatusrex sedet in verticecaveat ruinam!nam sub axe legimusHecubam reginam.

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crowned withthe many-colored flowersof prosperity;though I may have flourishedhappy and blessed,now I fall from the peakdeprived of glory.

The wheel of Fortune turns;I go down, demeaned;another is raised up;far too high upsits the king at the summit -let him fear ruin!for under the axis is writtenQueen Hecuba.

PRIMO VERE (SPRING)

3. VERIS LETA FACIES(THE MERRY FACE OF SPRING)

Fate - monstrousand empty,you whirling wheel,you are malevolent,well-being is vainand always fades to nothing,shadowedand veiledyou plague me too;now through the gameI bring my bare backto your villainy.

(Small Chorus)Veris leta faciesmundo propinatur,hiemalis aciesvicla iam fugatur,in vestitu variaFlora principatur,nemorum dulcisonoque cantu celebratur.

Flore fusus gremioPhebus novo morerisum dal, hac vetioiam stipate flare.Zephyrus nectareospirans in adore.Certatim pro braviocurramus in amore.

Fate is against mein healthand virtue,driven onand weighted down,always enslaved.So at this hourwithout delaypluck the vibrating strings;since Fatestrikes down the strong man,everyone weep with me!

Cytharizat canticodulcis Philomena,flare rident variaprata iam serena,salit cetus aviumsilve per am~na,chorus promit virginiam gaudia mil/ena.

2. FORTUNE PLANGO VULNERA(I BEMOAN THE WOUNDS OF FORTUNE)(Chorus)Fortune plango vulnerastil/antibus ocellisquod sua michi munerasubtrahit rebel/is.Verum est, quod legitur,fronte capil/ata,sed plerumque sequitur

Occasio calvata.

In Fortune soliesederam elatus,

The merry face of springturns to the world,sharp winternow flees, vanquished;bedecked in various coloursFlora reigns,the harmony of the woodspraises her in song. Ah!

Lying in Flora's lapPhoebus once moresmiles, now coveredin many-coloured flowers,Zephyr breathes nectar­scented breezes.Let us rush to competefor love's prize. Ah!

In harp-like tones singsthe sweet nightingale,with many flowersthe joyous meadows are laughing,a flock of birds rises upthrough the pleasant forests,the chorus of maidensalready promisesa thousand joys. Ah!

4. OMNIA SOL TEMPERA T(THE SUN WARMS EVERYTHING)(Saritone)Omnia sol temperatpurus et subtilis,novo mundo reserat

I bemoan the wounds of Fortunewith weeping eyes,for the gifts she made meshe perversely takes away.It is written in truth,that she has a fine head of hair,but, when it comes toseizing an opportunityshe is bald.

faciem Aprilis,ad amorem properatanimus heriliset iocundis imperatdeus puerilis.

The sun warms everything,pure and gentle,once again it revealsto the worldApril's face,the soul of manis urged towards loveand joys are governedby the.b~tgOd. ;_~,_On Fortune's throne

I used to sit raised up,

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Rerum tanta novitasin solemni vereet veris auetoritasjubet nos gaudere;vias prebet solitas,et in tuo verefides est et probitastuum retinere.

Ama me fideliter,fidem meam nota:de corde totaliteret ex mente totasum presentialiterabsens in remota,quisquis amat taliter,volvitur in rota.

lam liqueseitet deereseitgranda, nix et cetera;brumafugit,etiam sugit

Ver Estatis ubera;illi mens est misera,qui nee vivit,nee laseivitsub Estatis dextera.

Glorianturet letanturin mel/e duleedinis,qui eonantur,ut utanturpremio Cupidinis:simus jussu Cypridisglorianteset letantespares esse Paridis.

All this rebirthin spring's festivityand spring's powerbids us to rejoice;it shows us paths we know well,and in your springtimeit is true and rightto keep what is yours.

7. FLORET SILVA NOBILIS(THE WOODS ARE BURGEONING)

(Chorus)Floret silva nobilisfloribus et foliis.

(Small Chorus)Ubi est antiquusmeus amicus?Hinc equitavit,eia, quis me amabit?

Love me faithfully!See how Iam faithful:with all my heartand with all my soul,I am with youeven when Iam far away.Whosoever loves this muchturns on the wheel.

(Chorus)Floret silva undique,nah min gesel/enist mir we.

5. ECCE GRATUM (CHORUS)(BEHOLD, THE PLEASANT SPRING)(Chorus)Ecce gratumetoptatumVer reducit gaudia,purpuratumfloret pratum,Sol serenat omnia.lamiam cedant tristia!Estas redit,nunc receditHyemis sevitia.

Behold, the pleasantand longed-forspring brings back joyfulness,violet flowersfill the meadows,the sun brightens everything,sadness is now at an end!

(Small Chorus)Gruonet der waltal/enthalben,

wa ist min gesel/ea/selange?

Der ist geriten hinnen,a wi, wersolmich minnen?

The noble woods are burgeoningwith flowers and leaves.

Where is the loverI knew? Ah!He has ridden off!Oh! Who will love me? Ah!

The woods are burgeoning all over,

I am pining for my lover.

The woods are turning green all over,

why is my lover away so long? Ah!He has ridden off,

Oh woe, who will love me? Ah!

Summer returns,now withdrawthe rigours of winter. Ah!

8. CHRAMER, GIP DIE VARWE MIR(SHOPKEEPER, GIVE ME COLOR)

Now meltsand disappearsice, snow and the rest,winter flees,and now spring sucks atsummers breast:

a wretched soul is hewho does not liveor lustunder summer's rule. Ah!

(Semi-Chorus)Chramer, gip dievarwemir,

die min wengel roete,damitich diejungenman

an ir dank derminnenliebe noete.

Seht mich an,jungen man!lat mich iu geval/en!

They gloryand rejoicein honeyed sweetnesswho striveto make use ofCupid's prize;at Venus' commandlet us gloryand rejoicein being Paris' equals. Ah!

Minnet,tugentliche man,

minnecliehe frouwen!minne tuot iuhoch gemout

unde lat iuch inohen eren schouwenSeht mich an·jungen man!lat mich iu geval/en!

Wol dir, werit,daz du bist

also freudenriche!ich willdirsin undertan

durch din liebeimmer sicherliche.

Seht mich an,jungen man!lat mich iu gevel/en!

UF DEM ANGER (ON THE LAWN)

6. TANZ (DANCE)

Shopkeeper, give me colourto make my cheeks red,

so that Ican make the young men

love me, against their will.Look at me,young men!Let me please you!

Good men, lovewomen worthy of love!

Love ennobles your spirit

and gives you honour.Look at me,young men!Let me please you!

Hail, world,so rich in joys!

I will be obedient to you

because of the pleasures you afford.Look at me,young men!Let me please you!

Suzer rosenvarwer munt, Sweet rose-red lips,chum un mache mich gesunt

come and make me better,chum un mache mich gesunt,

come and make me better,sweet rose-red lips.

10. WERE DIU WERLT ALLE MIN(WERE ALL THE WORLD MINE)(Chorus)Were diu wertt al/e min Were all the world minevon deme mere unze an den Rin

from the sea to the Rhine,des walt ih mih darben, Iwould starve myself of itdaz diu chunegin von Engel/ant

so that the queen of Englandlege an minen armen. might lie in my arms.

IN TABERNA (IN THE TAVERN)

11. ESTUANS INTERIUS(BURNING INSIDE)(Baritone)Estuans interiusira vehementiin amaritudineloquor mee menti:factus de materia,cinis elementisimilis sum folio,de quo ludunt venti.

9. REIE (ROUND DANCE)(Chorus)Swaz hie gat umbe,daz sint alles megede,die wel/ent an manallen disen sumer gan!(Small Chorus)Chume, chum,gesel/emin,

ih enbite harte din,ih enbite harte din,chume, chum,gesel/emin.

suzer rosenvarwer munt(Chorus)Swaz hie gat umbe,daz sint alles megede,die wel/ent an manaI/en disen sumer gan!

Cum sit enim propriumviro sapientisupra petram poneresedem fundamenti,stultus ego comparorfluvio labenti,sub eodem tramitenunquam permanenti.

Feror ego velutisine nauta navis,ut per vias aerisvaga fertur avis;non me tenent vincula,non me tenet c/avis,quero mihi simileset adiungor pravis.Mihi cordis aravitas

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Those who go round and roundare all maidens,they want to do without a manall summer long. Ah! Sla!

res videtur gravis; seems like a burden to me;iocis est amabilis it is pleasant to jokedulciorque favis; and sweeter than honeycomb;quicquid Venus imperat, whatever Venus commandslabor est suavis, is a sweet duty,que nunquam in cordibus she never dwellshabitat ignavis. in a lazy heart.

Come, come, my love,I long for you,I long for you,

Via lata gradiormore iuventutisinplicor et vitiisimmemor virtutis,voluptatis avidusmagis quam salutis,mortuus in animacuram gero cutis.

I travel the broad pathas is the way of youth,I give myself to vice,unmindful of virtue,I am eager for the pleasures of the fleshmore than for salvation,my soul is dead,so I shall look after the flesh.

come, come, my love.

Those who go round and roundare all maidens,they want to do without a manall summer long. Ah! Sla!

12. CIGNUS USTUS CANTAT(SONG OF THE ROASTED SWAN)(Tenor)Olim lacus colueram, Once I lived on lakes,olim pulcher extiteram once I looked beautifuldum cignus ego fueram. when Iwas a swan.

(Male chorus)Miser, miser!modo nigeret ustus fortiter!

Misery me!Now blackand roasting fiercely!

(Tenor)Girat, regiraf garcifer; The servant is turning me on the spit;me rogus urit fortiter; Iam burning fiercely on the pyre:propinat me nunc dapifer, the steward now serves me up.

(Male Chorus)Miser, miser!modo nigeref usfus fortiter!

Misery me!Now blackand roasting fiercely!

Burning insidewith violent anger,bitterlyIspeak to my heart:created from matter,of the ashes of the elements,I am like a leafplayed with by the winds.

(Tenor)Nunc in scufella iaceo, Now I lie on a plate,ef volitare nequeo and cannot fly anymore,dentes frendentes video: Isee bared teeth:

(Male Chorus)Miser, miser!modo nigeret ustus fortiter!

Misery me!Now blackand roasting fiercely!

If it is the wayof the wise manto buildfoundations on stone,then Iam a fool, likea flowing stream,which in its coursenever changes.

13. EGO SUMABBAS(I AM THEABBOT)(Baritone) ••Ego sum abbas Cucaniensis

I am the abbot of Cockaigneet consilium meum est cum bibulis,

and my assembly is one of drinkers,et in secfa Decii voluntas mea est,

and Iwish to be in the order of Decius,ef qui mane me quesierit in taberna,

and whoever searches me oul at thetavern in the morning,

post vesperam nudus egrediefur,after Vespers he will leave naked,

et sic denudatus veste clamabit:and thus stripped of his clothes he

will call out:

I am carried alonglike a ship without a steersman,and in the paths of the airlike a light. hovering bird;chains cannot hold me,keys cannot imprison me,I look for people like meand join the wretches.The heaviness of mv heart

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(Baritone and Male Chorus)Wafna, wafna! Woe! Woe!quid fecisti sors turpassi what have you done, vilest Fate?Nostre vite gaudia the joys of my lifeabstulisti omnia! you have taken all away!

14. IN TABERNA QUANDO SUMUS(WHEN WEARE IN THE TAVERN)(Male Chorus)In tabema quando sumus

When we are in the tavern,non curamus quid sit humus,

we do not think how we will go to dust,sed ad ludum properamus,

but we hurry to gamble,cui semper insudamus. which always makes us sweat.Quid agatur in tabema What happens in the tavern,ubi nummus est pincerna where money is host,hoc est opus ut queratur, you may well ask,si quid loquar, audiatur. and hear what I say.

Quidam ludunt, quidam bibunt,Some gamble, some drink,

quidam indiscrete vivunt. some behave loosely.Sed in Judoqui morantur, But of those who gamble,ex his quidam denudantur

some are stripped bare,quidam ibi vestiuntur, some win their clothes here,quidam saccis induuntur. some are dressed in sacks.Ibi nullus timet mortem Here no-one fears death,sed pro Baccho mittunt sortem:

but they throw the dicein the name of Bacchus.

Primo pro nummata vini, First of all it is to the wine-merchantex hac bibunt libertini; the the libertines drink,semel bibunt pro captivis, one for the prisoners,post hec bibunt ter pro vivis,

three for the living,quater pro Christianis cunctis

four for all Christians,quinquies pro fidelibus defunctis,

five for the faithful dead,sexies pro sororibus vanis,

six for the loose sisters,septies pro militibus silvanis.

seven for the footpads in the wood,Octies pro fratribus perversis,

Eight for the errant brethren,nonies pro monachis dispersis,

nine for the dispersed monks,decies pro navigantibus ten for the seamen,undecies pro discordaniibus,

eleven for the squabblers,duodecies pro penitentibus,

twelve for the penitent,tredecies pro iter agentibus.

thirteen for the wayfarers.Tampro papa quam pro rege

To the Pope as to the kingbibunt omnes sine lege. they all drink without restraint.

Bibit hera, bibit herus,bibit miles, bibit clerus,bibit iIIe, bibit ilia,bibit servis cum ancilla,

The mistress drinks, the master drinks,the soldier drinks, the priest drinks,the man drinks, the woman drinks,the servant drinks with the maid,

bibit velox, bibit piger, the swift man drinks,the lazy man drinks,

bibit albus, bibif niger, the white man drinks,the black man drinks,

bibit constans, bibit vagus,the settled man drinks,

the wanderer drinks,bibit rudis, bibit magnus. the stupid man drinks,

the wise man drinks,

Bibit pauper et egrotus, The poor man drinks,the sick man drinks,

bibit exul et ignotus, the exile drinks, and the stranger,bibit puer, bibit canus, the boy drinks, the old man drinks,bibit presul et decanus, the bishop drinks, and the deacon,bibit soror, bibit frater, the sister drinks, the brother drinks,bibit anus, bibit mater, the old lady drinks, the mother drinks,bibit ista, bibit ille, this man drinks, that man drinks,bibunt centum, bibunt mille.

a hundred drink, a thousand drink.

Parum sexcente nummateSix hundred pennies would hardly

durant, cum immoderate suffice, if everyonebibunt omnes sine meta. drinks immoderately and immeasurably.Quamvis bibant mente leta,

However much they cheerfully drinksic nos rodunt omnes gentes

we are the ones whom everyone scolds,et sic erimus egentes. and thus we are destitute.Qui nos rodunt confundantur

May those who slander us be cursedet cum iustis non scribantur.

and may their names not be writtenin the book of the righteous.

COUR D'AMOURS (THE HEART OFLOVE)

15.AMOR VOLAT UND/QUE(CUPID FLIES EVERYWHERE)(Children)Amor volat undique,captus est libidine.luvenes, iuvenculeconiunguntur merito.

Cupid flies everywhereseized by desire.Young men and womenare rightly coupled.

(Soprano)Siqua sine socio,caret omni gaudio;tenet noctis infimasubintimocordis in custodia:

The girl without a lovermisses out on all pleasures,she keeps the dark nighthiddenin the depth of her heart;

(Children)fit res amarissima. it is a most bitter fate.

16. DIES, NOX ET OMNIA(DAY, NIGHT AND EVERYTHING)(Baritone)Dies, nox et omniamichi sunt contraria;virginum colloquiame fay planszer,oy suvenz suspirer,plu me fay femer.

Day, night and everythingis against me,the chattering of maidensmakes me weep,and often sigh, iand, most of ail, scares me.

" )-. --'., !\.~~'.

o sodales, ludite,vos qui scitis dicitemichi mesto parcite,grand ey dolur,attamen consuliteper voster honur.

Tuapulchra faciesme fay planszer milies,

pectus habet glacies.A remenderstatim vivus fieremper un baser.

17, STETIT PUELLA(A GIRL STOOD)(Soprano)Stetitpuellarufa tunica;si quis eam tetigit,tunica crepuit.Eia.

Stetitpuellatamquam rosula;facie splenduit,os eius fioruit.Eia.

18. CIRCA MEA PECTORA(IN MY HEART)(Baritone and Chorus)Circa mea pectoramulta sunt suspiriade tua pulchritudine,que me ledunt misere.

Manda liet,Manda lietmin gesellechumetniet.

Tui lucent oculisicut solis radii,sicut splendor fulgurislucem donat tenebris

MandalietManda liet,mingesellechumet niet.

o friends, you are making fun of me,you do not know what you are saying,spare me, sorrowful as I am,great is my grief,advise me at least,by your honour.

Your beautiful face,

makes me weep a thousand times,your heart is of ice.As a cure,I would be revivedby a kiss,

A girl stoodin a red tunic;if anyone touched it,the tunic rustled.Eia!

Agirf stoodlike a little rose:her face was radiantand her mouth in bloom.Eia!

In my heartthere are many sighsfor your beauty,which wound me sorely. Ah!

Mandaliet,mandaliet,my loverdoes not come.

Your eyes shinelike the rays of the sun,like the flashing of lightningwhich brightens the darkness. Ah!

Mandaliet.mandaliet,my loverdoes not come.

Vel/et deus, val/ent dii May God grant, may the gods grantquod mente proposui: what I have in mind:ut eius virginea that I may loosereserassem vincula. the chains of her virginity. Ah!

Manda liet,Mandaliet,min gesel/echumet niet.

Mandaliet,mandaliet,my loverdoes not come.

19. SI PUER CUM PUELLULA(IF A BOY WITHA GIRL)(Six male singers)Si puer cum puellulamoraretur in cellula,felix coniunctio.Amore suscrescentepariter e medioavulso procul tedio,fit ludus ineffabilis·membris, laceriis, labii

20. VENI, VENI, VENIAS(COME, COME, 0 COME)(Double Chorus)Veni, veni, venias,ne me mori facias,hyrca, hyrce, nazaza,trillirivos

Pulchra tibi faciesoculorum acies,capillorum series,o quam clara species!

Rosa rubicundiorliIio candidioromnibus formosior,semper in te glorion

21. IN TRUITINA(IN THE BALANCE)(Soprano)In truitina mentis dubia

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If a boy with a girltarries in a little room,happy is their coupling.Love rises up,and between themprudery is driven away,an ineffable game beginsin their limbs, arms and lips.

Come, come, 0 come,do not let me die,hycra, hycre, nazaza,trillirivos!

Beautiful is your face,the gleam of your eye,your braided hair,what a glorious creature!

redder than the rose,whiter than the lily,lovelier than all others,I shall always glory in you!

In the wavering balance ofmy feelings

fluctuant contraria set against each otherlascivus amor et pudicitia.

lascivious love and modesty.Sed eligo quod video, But I choose what I see,collum iugo prebeo: and submit my neck to the yoke;ad iugum tamen suave transeo.

I yield to the sweet yoke.

22. TEMPUS ES IOCUNDUM(THIS IS THE JOYFUL TIME)(Chorus)Tempus es iocundumo virgines,modo conga~?etevos iuvenes.

(Baritone)Oh, oh, oh,totus florea,iam amore virginalitotus ardeo,novus, novus amorest, quo pereo.

(Women)Mea me conforiatpromissio,mea me deportat

(Soorano and children)

This is the joyful time.o maidens,rejoice with them,young men!

Oh! Oh! Oh!I am bursting out all over!I am burning all over with first love!New, new love is what I am dying of!

I am heartenedby my promise,I am downcast by my refusal

(Soprano and children)Oh, oh, ohtotus floreoiam amore virginalitotus ardeo,novus, novus amorest, quo pereo.

(Men)Tempore brumalivir patiens,animo vemalilasciviens.

(Baritone)Oh, oh, oh,totus floreo,iam amore virginalitotus ardeo,novus, novus amorest, quo pereo.

(Women)Mea mecum ludi!virginitas,mea me detruditsimplicitas.

(Soprano and Children)Oh, oh, oli,totus floreo,iam amore virginalitotus ardeo,novus, novus amorest, quo pereo.

(Chorus)Veni, domicella,cum gaudio,veni, veni, pulchra,iam perea.

FORTUNA IMPERA TRIX MUNDIOh! Oh! Oh!I am bursting out all over!Iam buming all over with first love!New, new love is what I am dying of!

o Fortune,like the moonyou are changeable,ever waxingand waning;hateful lifefirst oppressesand then soothesas fancy takes it;povertyand powerIt melts them like ice.

25.0 FORTUNA (0 FORTUNE)o Fortunavelut lunastatu variabilis,semper crescisaut decrescis;vita detestabilisnunc bdurateet tunc curatludo mentis aciem,egestatem,potestatemdissolvit ut glaciem.

In the winterman is patient,the breath of springmakes him lust.

Oh! Oh! Oh!I am bursting out all over!I am buming all over with first love!New, new love is what I am dying of!

Sors immanisetinanis,rota tu volubilis,status malus,vana salussemper dissolubilis,obumbrataet velatamichi quoque niteris;nunc per ludumdorsum nudumfero tui sceleris.

My virginitymakes me frisky,my simplicityholds me back.

Oh! Oh! Oh!I am bursting out all over!I am burning all over with first love!New, new love is what I am dying of!

Sors salutiset virtutismichi nunc contraria,e.staffectuset defectussemper in angaria.Hacinhorasine moracorde pu/sum tangite;quod per sortemstemit fortem,mecum omnes plangite!

Come, my mistress,with joy,come, come, my pretty,I am dying!

(Baritone, Children and Chorus)Oh, oh, oh, Oh! Oh! Oh!totus floreQ, I am bursting out all over!iam amore virginali I am buming all over with first love!totus ardeo, New, new love is what I am dying of!novus, novus amor est, quo pereo.

23. DULCISSIME(SWEETEST ONE)(Soprano)Dulcissime,totam fibi subdo me!

BLANZIFLOR ET HELENA

Sweetest one! Ah!I give myself to you totally!

24. AVE FORMOSISSIMA(HAIL, MOST BEAUTIFUL ONE)(Chorus)Ave formosissima,gemma pretiosa,ave decus virginum,virgo gloriosa,ave mundi luminar,ave mundi rosa,BJanzifior et Helena,Venus generosa!

Hail, most beautiful one,precious jewel,Hail, pride among virgins,glorious virgin,Hail. Light of the world,Hail, rose of the world,Blanchefleur and Helen,Noble Venus!

Fate - monstrousand empty,Youwhirling wheel,you are malevolent,well-being is vainand always fades to nothing,shadowedand veiledyou plague me too;now through the gameIbring my bare backTo your villainy.

Fate is against mein healthand virtue,driven onand weighted down,Always enslaved.So at this hourwithout delaypluck the vibrating strings;since Fatestrikes down the strong man,Everyone weep with me!

The Wheel ofFortune

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