Part I

Primo vere --- In Springtime

 3.  Veris leta facies-- The Joyous Face of Spring

The Fortuna chorus, with its characteristic colour provided by piano, brass, and timpani is followed by No.3 (Veris leta facies), a sound-picture of spring. After an introductory bird call, the rising melody suggests the re-awakening from winter.




4.  Omnia sol temperat-- All Things Are Tempered

The opening bars of No.4 (Omnia sol temperat), mark it at once as abstract and intense. The transparent orchestration, which combines double basses playing in a high register with flageolet tone, with high instruments playing in a deep register, mark the symbolic intention of the movement absolutely clear.





5.  Ecce gratum-- Behold the Welcome

  • No.5 (Ecce gratum) is a perfect fineness of Orff’s sense of form. The staccato of the first section is set off against the legatissimo of the “purpuratum” section, with its gradually mounting undulations.

 

Uf dem anger --- On the Lawn

6.  Tanz-- Dance



  • No. 6(Tanz) The effect of the first depends upon the sharp contrast of the genuine Bavarian dance and a middle section for flute and timpani, representing the accompanist.



7.  Floret silva nobilis-- The Noble Forest

  • No.7(Floret silva nobilis) The vocal style in these dance scenes is naturally determined by the gestures. It is characterized by the breaking down and repetition of words, the breathless 3/4-2/4 time and the galloping movement (hinc, hinc, hinc…equitavit, -tavit,-tavit). This is followed effectively by the note of the horn, used by Orff as the symbol of distance (“eia, quis me amabit?”)
 

8.  Chramer, gip die varwe mir (Small and large choruses) [German]-- Salesman! Give Me Colored Paint





9. Reie [German]-Rreie

   -Swaz hie gat umbe (Chorus)--- They Who Here Go Dancing Round

    -Chume, chum geselle min (Small Chorus)--- Come, Come, Dear Heart of Mine

    -Swaz hie gat umbe (Chorus)--- They Who Here Go Dancing Round

  • In No.9 (Reie-Schreittanz), double bass and tuba have important parts. The gestures are again cleverly reflected in the vocal line (“Chume, chum, geselle min”).




10. Were diu werlt alle min [German]-- If the Whole World Were but Mine

  • In No.10 (Were diu werlt alle min), the choir sing unison without any harmonic during the whole song, and instruments play together with the same rhythm on each section.[1]



[1] Liess ,Andreas. Carl Orff. (London: Calder and Boyard, 1966),85