Carmina Burana
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In taberna quando sumus
«Modo Antiquo erfüllt, was sich Huizinga vom Mittelalter erträumte. Ein wildes Getrommel dröhnt durch die Oswald-Kirche, Mezzosopranistin Lucia Sciannimanico versucht wie ein Dudelsack zu quäken, Sex und Suff, Zockerei und Zoten werden zu Existenzfragen. So kann Alte Musik ganz heutig werden.»
Süddeutsche Zeitung
Modo Antiquo
BETTINA HOFFMANN
LUCIA SCIANNIMANICO, voice
PAOLO FANCIULLACCI, voice, bagpipe, oliphant
MARCO SCAVAZZA, voice
FEDERICO MARIA SARDELLI, recorder, transverse flute, double flute, shawm
UGO GALASSO, recorder, shawm, pipe and tabor, drums
PIERO CALLEGARI, slide trumpet
BETTINA HOFFMANN, fiddle, rebec
GIAN LUCA LASTRAIOLI, lute, citole
DANIELE POLI, harp, lute, dulcimer, symphonia, tambourine
and: little bells and hand bells, harness bells, decoys, whistles and other sound effects.
Program
I Carmina Moralia et Divina
Ecce torpet probitas - CB 3
Ave nobilis - CB 11*
La quarte Estampie Royal
Crucifigat omnes - CB 47
Veritas Veritatum – CB 21
Curritur ad vocem - CB 47 a
Dic Christi veritas/Bulla fulminante - CB 131/131a
O varium fortune lubricum - CB 14
Nomen a sollempnibus - CB 52
II Carmina Veris, Amoris et Potatorum
Alte clamat Epicurus - CB 211
Veris dulcis in tempore - CB 85
Exiit diluculo rustica puella - CB 90
Dulce solum - CB 119
Axe phoebus aureo - CB 71
Walthers Ton - (CB 211)
Bache bene venies - CB 200
Ich was ein chint so wolgetan - CB 185
In taberna quando sumus - CB 196
CARMINA BURANA: WHY A NEW INTERPRETATION
From the Marian chant to the Bacchic ode, from the merciless condemnation of the high clergy to the light-hearted love song, from polyphony full of strident dissonances to the most touching melody of the farewell song to one’s beloved, or the simple folk ditty. From the first polyphony of St. Martial to the melodies of the Minnesänger: the strength of the Carmina Burana, their unique and perpetual appeal lies perhaps in their extreme variety, in the inner contrasts that on a smaller scale reflect the macroscopic ones of medieval culture and society.
Modo Antiquo’s rendering does justice to this variety and these contrasts. A great deal however is required of the singers, well diversified voices with great personality that know how to tell, move, and when neccessary shout, pray, laugh and provoke laughter, in other words the ability to live the text to the full, without holding back. For the same reasons the Modo Antiquo instrumentation has to be vast, and includes almost all known Medieval instruments, and all are played with new and surprising techniques and sounds that support and comment on the text’s mood.
Modo Antiquo’s recording of the Carmina Burana prepared for the Amadeus Magazine was preceded by a particularly thorough study of the musical philology of the work; every detail of performance has been worked through with great care, from the pronunciation of Medieval Latin in a German context, to the interpretation of the texts for which a new specific translation has been prepared, all the way down to the revision and rhythm patterns of the musical material, and the instrumentation, that for the occasion has been enlarged with the addition of a few new instruments that for the most part have been reconstructed in the lute-making workshops of the performers themselves.