Navigation – Plan du site

AccueilNuméros31Traditions du patrimoine antiqueOdious and Yet Lovely: Carl Orff’...

Traditions du patrimoine antique

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Markus Stachon
p. 11-23

Résumés

Dans cet article, la cantate scénique Catulli Carmina de Carl Orff est analysée du point de vue d’un philologue classique. La conviction des musicologues selon laquelle Orff maîtrisait excellemment les langues anciennes est refutée. En outre, une nouvelle interprétation des termes italiens figurant dans le second acte est offerte. Enfin, la raison pour laquelle Orff a présenté les chants d’amour de Catulle comme une pièce dans la pièce est expliquée par les circonstances historiques de l’époque de production de la cantate.

Haut de page

Notes de l’auteur

This paper has been first presented at the University of Bonn on 28 September 2017 at the interdisciplinary conference “Classical Antiquity & Memory (19th–21st century)” organized by Penelope Kolovou and Efstathia Athanasopoulou. Later, on 12 January 2018, a German version of the talk has been given at the University of Wuppertal at the “Ianualia”, the annual meeting of North Rhine-Westphalian classicists. Some parts of the paper have also been presented on 12 December 2018 at King’s College London at the conference “Amplifying Antiquity: Music as Classical Reception” organized by Emily Pillinger and Miranda Stanyon. I owe thanks to the organizers of all three conferences and to all participants in the discussions for their useful comments.

Extrait du texte

Ce document sera publié en ligne en texte intégral en juin 2022.

Plan

The play’s content
Evaluation

Aperçu du texte

Nowadays, nearly everyone who learns Latin at some point gets acquainted with Catullus’s love poems: Lesbia’s sparrow (carmen 2, c. 3), a thousand kisses (c. 5, c. 7), and the famous “I hate and I love” (c. 85) are a standard matter in Latin classes. About a hundred years ago, the German composer Carl Orff, who stresses in his autobiography that Latin and Greek were his favourite subjects in school, had to become 35 years old to first read Odi et amo (c. 85). When he was on holidays at Lake Garda and visited Sirmione, he encountered the poem on a postcard—the words, he says, immediately transformed into music in his imagination. When he came back home he bought an edition of Catullus, selected some poems, and composed ten songs for mixed choir from them, which he edited in two volumes called Catulli Carmina I and II in 1931 and 1932 respectively. Later, when theatre directors complained that the highly successful Carmina Burana are not long enough to provide a full evening’s enterta...

Haut de page

Pour citer cet article

Référence papier

Markus Stachon, « Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina »Anabases, 31 | 2020, 11-23.

Référence électronique

Markus Stachon, « Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina »Anabases [En ligne], 31 | 2020, mis en ligne le 27 juin 2022, consulté le 26 février 2021. URL : http://journals.openedition.org/anabases/10348 ; DOI : https://doi.org/10.4000/anabases.10348

Haut de page

Auteur

Markus Stachon

Postdoctoral Research Fellow
Rheinische Friedrich-Wilhelms-Universität Bonn
Am Hof 1e, 53113 Bonn (Germany)
markus.stachon@gmail.com

Haut de page

Droits d’auteur

© Anabases

Haut de page
Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search