CARMINA BURANA
PROGRAM NOTES

Carl Orff: Carmina Burana (Side-by-Side with YOSA)

Program note by Jeffrey Kahane, Artistic Director

As disparate in their sound-worlds and aesthetics as the three works on tonight’s program are, in fact they are closely aligned in the sense that each of them is in its own way an irresistible celebration of the visceral  power of rhythm.

Carmina Burana - which means "Songs of Beuern"* - is one of those rare works in the classical canon that has not only been hugely popular since the day of its very first performance almost 100 years ago, but has deeply infiltrated popular culture. The powerful opening chorus “O Fortuna” shows up in any number of films, as well as television commercials, sporting events, and stadium rock.

Notwithstanding its status as one of classical music’s authentic “greatest hits”, it remains to this day a controversial work because of its association with World War 2 Germany, and because of Carl Orff’s highly ambiguous status with respect to being a German artist during the time of the Third Reich. Orff himself had a Jewish grandmother (a fact which he did his best to hide) and as a young man associated himself with leftist political and artistic movements that would have been completely anathema to the Nazis. Athough he never joined the Nazi party, neither did he make any effort to distance himself from the regime,  let alone to adopt a dissident stance, which, of course, would only have led to his being exiled, censored, imprisoned, or executed. Ironically, the initial reaction by Nazi officials to Carmina Burana was highly negative (undoubtedly because of the bawdy nature of some of the poetry), but when it was realized how popular the music was, rather than being censored by the authorities it was co-opted as a triumphant example of German music. Rather than going into the complex and unresolvable set of moral issues raised by Orff’s story, it would surely be better (and more enjoyable) to consider what it is that has made thisubiquitous work so universally popular.

To start with, Orff’s masterful use of rhythm to generate excitement and tension is present in almost every movement - the rhythms often have a primal quality  that might well make a listener want to get up and move or dance. In fact, as one listens, it is important to remember that Orff originally conceived this piece as a theatrical spectacle with dancers and scenery - the full Latin title is “Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis - which means "Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images”.  Orff also shows himself to be an incredibly clever composer both harmonically and melodically, with a knack for composing irresistibly catchy tunes and chord progressions that are both memorable and effective.  

What is perhaps less easy for contemporary audiences to appreciate about the work is Orff’s obvious love for medieval Latin (and, to a lesser extent, medieval German), and his exceptional understanding of the power of that poetry. The poems, which are all anonymous, come from a collection of poetry - the ancient Latin word for poem is “carmen” (plural “Carmina”)  - which also means “song”, all of which dates from the 12th century. The poems  range from charming, delicate love lyrics to the raciest of doggerel. Latin, with its almost infinite flexibility and long history, has lent itself particularly well not only to some of the most exalted and intricate poetry in Western literature (think Vergil and Ovid) but also to lyrics that are as simple as some pop or folk songs.

The  wonderful array of poems that make up the text of Carmina Burana were  composed by a group of wandering poets known as  the Goliards. These young men were highly educated masters of Latin verse who were former clerics or students of theology -which meant they probably  had a very hard time making a living.  In order to survive, they engaged in a rowdy lifestyle,  involving traveling from town to town and entertaining the populace by the singing of songs that mocked what they perceived as the corruption and hypocrisy of the medieval Church. Some of the songs are clearly intended to parody sacred Latin hymns or chants of the time, and while they are by today’s standards perhaps not so shocking, they would certainly have been perceived as blasphemous at the time, something which might well have been enthusiastically appreciated by those who shared the poets’ disdain for hypocritical clerics who lived lives of the most outrageous and decadent corruption.  The Codex which contained these poems was lost for centuries, until it were discovered in the mid-1800’s and published for the first time. It was this collection that Carl Orff came across in the 1930’s and inspired what would become his launching-pad to world fame.

One delightful and little-known fact about Orff is that when the great film-maker Stanley Kubrick was in the process of creating his masterpiece “2001: A Space Odyssey”, he asked Orff, then in his 70’s, if he would be willing to compose the score. Orff declined, saying he did not feel capable of taking on such a project. When Orff died in 1972, he was world-renowned not only for Carmina Burana, but also for his immense contributions to music education for children, which are still made use of by schools around the world. 

*The word Burana comes from the German “Beuern” refers to the Bavarian town of Benediktbeuern, whose  magnificent cloister and abbey  of the same name was legendary for its beauty. (The monastery was, tragically, severely damaged in a massive storm in 2023, but in spite of the loss of much of the original buildings, will open to the public again in the spring of 2027.)

Carmina Burana

Carl Orff  ·  Latin and English

Fortuna Imperatrix Mundi — Fortune, Empress of the World

4. Omnia sol temperat — The sun warms everything

Omnia sol temperat
purus et subtilis,
novo mundo reserat
faciem Aprilis,
ad amorem properat
animus herilis
et iocundis imperat
deus puerilis.

The sun warms everything,
pure and gentle,
once again it reveals to the world
April's face,
the soul of man is urged towards love
and joys are governed by Cupid.

5. Ecce gratum — Behold, the pleasant spring

Ecce gratum
et optatum
Ver reducit gaudia,
purpuratum
floret pratum,
Sol serenat omnia.
Iamiam cedant tristia!
Estas redit,
nunc recedit
Hyemis sevitia.

Behold, the pleasant and longed-for
spring brings back joyfulness,
violet flowers fill the meadows,
the sun brightens everything,
sadness is now at an end!
Summer returns,
now the rigours of winter withdraw. Ah!

Gloriantur
et letantur
in melle dulcedinis,
qui conantur,
ut utantur
premio Cupidinis:
simus jussu Cypridis
gloriantes
et letantes
pares esse Paridis.

They glory and rejoice
in honeyed sweetness who strive
to enjoy Cupid’s prize;
at Venus' command
let us glory and rejoice
in being Paris' equals. Ah!

Uf dem Anger — On the Lawn

6. Tanz — Dance (instrumental)

7. Floret silva nobilis — The noble woods are burgeoning

Ubi est antiquus
meus amicus?
Hinc equitavit,
eia, quis me amabit?

Where is the lover I knew?
He has ridden off!
Oh! Who will love me?

Floret silva undique,
nah min gesellen
ist mir we.

The woods are burgeoning all over,
I am pining for my lover.

8. Chramer, gip die varwe mir — Shopkeeper, give me colour

Chramer, gip die varwe mir,
die min wengel roete,
damit ich die jungen man
an ir dank der minnenliebe noete.
Seht mich an,
jungen man!
lat mich iu gevallen!

Shopkeeper, give me colour
to make my cheeks red,
so that I can make the young men
love me, against their will.
Look at me, young men!
Let me please you!

Were diu werlt alle min
von deme mere unze an den Rin,
des wolt ih mih darben,
daz diu chunegin von Engellant
lege an minen armen.

Were all the world mine
from the sea to the Rhine,
I would starve myself
so that the queen of England
might lie in my arms.

II. In Taberna — In the Tavern

Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor
fluvio labenti,
sub eodem tramite
nunquam permanenti.

If it is the way
of the wise man
to build foundations on stone,
I am a fool, like a flowing stream,
which in its course never changes.

Via lata gradior
more iuventutis,
inplicor et vitiis
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.

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

Olim lacus colueram,
olim pulcher extiteram,
dum cignus ego fueram.

Once I lived on lakes,
once I looked beautiful
when I was a swan.

Miser, miser!
modo niger
et ustus fortiter!

Misery me!
Now black
and roasting fiercely!

O Fortune,
like the moon
you are changeable,
ever waxing,
ever waning;
Hateful life
first oppresses
and then soothes,
a keen game of the mind;
poverty
and power
it melts them like ice.

Fate — monstrous
and empty,
you whirling wheel,
you are malevolent,
well-being is vain
and always fades to nothing,
shadowed and veiled
you plague me too;
now through the game
I bare my naked back
to your cruelty.

1. O Fortuna — O Fortune

O Fortuna,
velut luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curat
ludo mentis aciem,
egestatem,
potestatem
dissolvit ut glaciem.

Sors immanis
et inanis,
rota tu volubilis,
status malus,
vana salus
semper dissolubilis,
obumbrata
et velata
michi quoque niteris;
nunc per ludum
dorsum nudum
fero tui sceleris.

Sors salutis
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
sternit fortem,
mecum omnes plangite!

Fate is against me
in health
and virtue,
driven on
and weighted down,
always enslaved.
So at this hour
without delay
pluck the vibrating strings;
since Fate
strikes down the strong man,
everyone weep with me!

2. Fortune plango vulnera
— I bemoan the wounds of Fortune

Wol dir, werlt, daz du bist
also freudenriche!
ich will dir sin undertan
durch din liebe immer sicherliche.
Seht mich an,
jungen man!
lat mich iu gevallen!

Hail, world, also
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!

Chume, chum, geselle min,
ih enbite harte din,
ih enbite harte din,
chume, chum, geselle min.

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

Swaz hie gat umbe,
daz sint alles megede,
die wellent an man
allen disen sumer gan!

Those who go round and round
are all maidens,
they want to do without a man
all summer long.

Miser, miser!
modo niger
et ustus fortiter!

Misery me!
Now black
and roasting fiercely!

Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.

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 bemoan the wounds of Fortune
with weeping eyes,
for the gifts she gave me
she perversely takes away.
Truly is it written,
that seen from the front,
she has a fine head of hair,
but, if you chance upon her from behind,
she is bald.

Fortune plango vulnera
stillantibus ocellis,
quod sua michi munera
subtrahit rebellis.
Verum est, quod legitur,
fronte capillata,
sed plerumque sequitur
Occasio calvata.

On Fortune's throne
I used to sit raised up,
crowned with
the many-coloured flowers of prosperity;
though I may have flourished
happy and blessed,
now I fall from the peak
deprived of glory.

In Fortune solio
sederam elatus,
prosperitatis vario
flore coronatus;
quicquid enim florui
felix et beatus,
nunc a summo corrui
gloria privatus.

Fortune rota volvitur:
descendo minoratus;
alter in altum tollitur;
nimis exaltatus
rex sedet in vertice –
caveat ruinam!
nam sub axe legimus
Hecubam reginam.

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

I. Primo Vere — In Springtime

The merry face of spring
turns to the world,
sharp winter
now flees, vanquished;
Bedecked in various colours
Flora reigns,
the sweet harmony of the woods
praises her in song. Ah!

Veris leta facies
mundo propinatur,
hiemalis acies
victa iam fugatur,
in vestitu vario
Flora principatur,
nemorum dulcisono
que cantu celebratur.

Reclining in Flora’s lap,
Phoebus smiles anew,
Now covered with many-colored flowers.
Zephyr breathes out nectar-
scented breezes.
Let us race to compete
for love's prize. Ah!

Flore fusus gremio
Phebus novo more
risum dat, hac vario
iam stipatus flore.
Zephyrus nectareo
spirans in odore.
Certatim pro bravio
curramus in amore.

Sweet Philomela sings her song with the lyre,
the bright fields smile with  colorful flowers.
A flock of birds rises up
through the pleasant forests,
the chorus of maidens
now promises a thousand joys. Ah!

Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam gaudia millena.

All this rebirth
in spring's festivity
and spring's power
bids us to rejoice;
it shows us paths we know well,
and in your springtime
it is true and right
to keep what is yours.

Rerum tanta novitas
in solemni vere
et veris auctoritas
jubet nos gaudere;
vias prebet solitas,
et in tuo vere
fides est et probitas
tuum retinere.

Love me faithfully!
See how I am faithful:
with all my heart
and with all my soul,
I am with you
even when I am far away.
Whosoever loves this much
turns on the wheel.

Ama me fideliter,
fidem meam nota:
de corde totaliter
et ex mente tota
sum presentialiter
absens in remota,
quisquis amat taliter,
volvitur in rota.

Now melts
and disappears
ice, snow and the rest,
winter flees,
and now spring sucks
at summer's breast:
a wretched soul is he
who does not live
or lust under summer’s rule.

Iam liquescit
et decrescit
grando, nix et cetera;
bruma fugit,
et iam sugit
Ver Estatis ubera;
illi mens est misera,
qui nec vivit,
nec lascivit
sub Estatis dextera.

Floret silva nobilis
floribus et foliis.

The noble woods are burgeoning
with flowers and leaves.

Good men, love women worthy of love!
Love ennobles your spirit
and gives you honour.
Look at me, young men!
Let me please you!

Minnet, tugentliche man,
minnecliche frouwen!
minne tuot iu hoch gemout
unde lat iuch in hohen eren schouwen.
Seht mich an,
jungen man!
lat mich iu gevallen!

9. Reie — Round dance

Suzer rosenvarwer munt,
chum un mache mich gesunt,
chum un mache mich gesunt,
suzer rosenvarwer munt.

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

The woods are turning green all over,
why is my lover away so long?
He has ridden off,
Oh woe, who will love me?

Gruonet der walt allenthalben,
wa ist min geselle alse lange?
Der ist geriten hinnen,
o wi, wer sol mich minnen?

Those who go round and round
are all maidens,
they want to do without a man
all summer long.

Swaz hie gat umbe,
daz sint alles megede,
die wellent an man
allen disen sumer gan!

10. Were diu werlt alle min — Were all the world mine

11. Estuans interius — Burning inside

Miser, miser!
modo niger
et ustus fortiter!

Misery me!
Now black
and roasting fiercely!

Wafna, wafna!
quid fecisti sors turpissima?
Nostre vite gaudia
abstulisti omnia!

Woe! Woe!
what have you done, vilest Fate?
The joys of my life
you have taken all away!

Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.

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!

Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.

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!

Burning inside
with violent anger,
bitterly I speak to my heart:
created from matter,
of the ashes of the elements,
I am like a leaf
played with by the winds.

Estuans interius
ira vehementi
in amaritudine
loquor mee menti:
factus de materia,
cinis elementi,
similis sum folio,
de quo ludunt venti.

I am carried along
like a ship without a steersman,
and in the paths of the air
like a light, hovering bird;
chains cannot hold me,
keys cannot imprison me,
I look for people like me
and join the wretches.

Mihi cordis gravitas
res videtur gravis;
iocis est amabilis
dulciorque favis;
quicquid Venus imperat,
labor est suavis,
que nunquam in cordibus
habitat ignavis.

The heaviness of my heart
seems like a burden to me;
it is pleasant to joke
and sweeter than honeycomb;
whatever Venus commands
is a sweet duty,
she never dwells
in a lazy heart.

Feror ego veluti
sine nauta navis,
ut per vias aeris
vaga fertur avis;
non me tenent vincula,
non me tenet clavis,
quero mihi similes
et adiungor pravis.

12. Olim lacus colueram — The Roast Swan

The servant is turning me on the spit;
I am burning fiercely on the pyre:
the steward now serves me up.

Girat, regirat garcifer;
me rogus urit fortiter;
propinat me nunc dapifer.

Now I lie on a plate,
and cannot fly anymore,
I see bared teeth:

Nunc in scutella iaceo,
et volitare nequeo,
dentes frendentes video:

13. Ego sum abbas — I am the abbot

I am the abbot of Cockaigne
and my assembly is one of drinkers,
and I wish to be in the order of Decius,
and whoever searches me out at the tavern in the morning,
after Vespers he will leave naked,
and thus stripped of his clothes he will call out:

Ego sum abbas Cucaniensis
et consilium meum est cum bibulis,
et in secta Decii voluntas mea est,
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:

14. In taberna quando sumus — When we are in the tavern

In taberna quando sumus,
non curamus quid sit humus,
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna,
ubi nummus est pincerna,
hoc est opus ut queratur,
si quid loquar, audiatur.

When we are in the tavern,
we do not think how we will go to dust,
but we hurry to gamble,
which always makes us sweat.
What happens in the tavern,
where money is host,
you may well ask,
and hear what I say.

Quidam ludunt, quidam bibunt,
quidam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur,
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem,
sed pro Baccho mittunt sortem:

Some gamble, some drink,
some behave loosely.
But of those who gamble,
some are stripped bare,
some win their clothes here,
some are dressed in sacks.
Here no-one fears death,
but they throw the dice in the name of Bacchus.

Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis,
post hec bibunt ter pro vivis,
quater pro Christianis cunctis,
quinquies pro fidelibus defunctis,
sexies pro sororibus vanis,
septies pro militibus silvanis.

First of all it is to the wine-merchant
the libertines drink,
one for the prisoners,
three for the living,
four for all Christians,
five for the faithful dead,
six for the loose sisters,
seven for the footpads in the wood,

Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus,
undecies pro discordantibus,
duodecies pro penitentibus,
tredecies pro iter agentibus.
Tam pro papa quam pro rege
bibunt omnes sine lege.

eight for the errant brethren,
nine for the dispersed monks,
ten for the seamen,
eleven for the squabblers,
twelve for the penitent,
thirteen for the wayfarers.
To the Pope as to the king
they all drink without restraint.

Stetit puella
rufa tunica;
si quis eam tetigit,
tunica crepuit.
Eia.

A girl stood
in a red tunic;
if anyone touched it,
the tunic rustled.

Circa mea pectora
multa sunt suspiria
de tua pulchritudine,
que me ledunt misere.

In my heart
there are many sighs
for your beauty,
which wound me sorely.

The mistress drinks, the master drinks,
the soldier drinks, the priest drinks,
the man drinks, the woman drinks,
the servant drinks with the maid,
the swift man drinks, the lazy man drinks,
the white man drinks, the black man drinks,
the settled man drinks, the wanderer drinks,
the stupid man drinks, the wise man drinks,

Bibit hera, bibit herus,
bibit miles, bibit clerus,
bibit ille, bibit illa,
bibit servus cum ancilla,
bibit velox, bibit piger,
bibit albus, bibit niger,
bibit constans, bibit vagus,
bibit rudis, bibit magus.

the poor man drinks, the sick man drinks,
the exile drinks, and the stranger,
the boy drinks, the old man drinks,
the bishop drinks, and the deacon,
the sister drinks, the brother drinks,
the old lady drinks, the mother drinks,
this man drinks, that man drinks,
a hundred drink, a thousand drink.

Bibit pauper et egrotus,
bibit exul et ignotus,
bibit puer, bibit canus,
bibit presul et decanus,
bibit soror, bibit frater,
bibit anus, bibit mater,
bibit ista, bibit ille,
bibunt centum, bibunt mille.

Six hundred pennies would hardly
suffice, if everyone
drinks immoderately and immeasurably.
However much they cheerfully drink
we are the ones whom everyone scolds,
and thus we are destitute.
May those who slander us be cursed
and may their names not be written in the book of the righteous.

Parum sexcente nummate
durant, cum immoderate
bibunt omnes sine meta.
Quamvis bibant mente leta,
sic nos rodunt omnes gentes
et sic erimus egentes.
Qui nos rodunt confundantur
et cum iustis non scribantur.

III. Cour d'Amours — The Court of Love

15. Amor volat undique — Cupid flies everywhere

Manda liet, manda liet,
min geselle chumet niet.

Mandaliet,
my lover does not come.

Cupid flies everywhere
seized by desire.
Young men and women
are rightly coupled.

Amor volat undique,
captus est libidine.
Iuvenes, iuvencule
coniunguntur merito.

The girl without a lover
misses out on all pleasures,
she keeps the dark night hidden
in the depth of her heart;
it is a most bitter fate.

Siqua sine socio,
caret omni gaudio;
tenet noctis infima
sub intimo
cordis in custodia:
fit res amarissima.

16. Dies, nox et omnia — Day, night, and everything

Pulchra tibi facies,
oculorum acies,
capillorum series,
o quam clara species!

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

Day, night, and everything
is against me,
the chattering of maidens
makes me weep,
and often sigh,
and, most of all, scares me.

Dies, nox et omnia
michi sunt contraria;
virginum colloquia
me fay planszer,
oy suvenz suspirer,
plu me fay temer.

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.

O sodales, ludite,
vos qui scitis dicite,
michi mesto parcite,
grand ey dolur,
attamen consulite
per voster honur.

Your beautiful face,
makes me weep a thousand times,
your heart is of ice.
As a cure,
I would be revived
by a kiss.

Tua pulchra facies
me fay planszer milies,
pectus habet glacies.
A remender
statim vivus fierem
per un baser.

17. Stetit puella — A girl stood

Stetit puella
tamquam rosula;
facie splenduit,
os eius floruit.
Eia.

A girl stood
like a little rose:
her face was radiant
and her mouth in bloom.

18. Circa mea pectora — In my heart

Manda liet, manda liet,
min geselle chumet niet.

Mandaliet,
my lover does not come.

Your eyes shine
like the rays of the sun,
like the flashing of lightning
which brightens the darkness.

Tui lucent oculi
sicut solis radii,
sicut splendor fulguris
lucem donat tenebris.

May God grant, may the gods grant
what I have in mind:
that I may loose
the chains of her virginity.

Vellet deus, vellent dii
quod mente proposui:
ut eius virginea
reserassem vincula.

Mandaliet,
my lover does not come.

Manda liet, manda liet,
min geselle chumet niet.

19. Si puer cum puellula — If a boy with a girl

If a boy with a girl
tarries in a little room,
happy is their coupling.
Love rises up,
and between them
prudery is driven away,
an ineffable game begins
in their limbs, arms and lips.

Si puer cum puellula
moraretur in cellula,
felix coniunctio.
Amore suscrescente
pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.

20. Veni, veni, venias — Come, come, O come

Veni, veni, venias,
ne me mori facias,
hyrca, hyrce, nazaza,
trillirivos!

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

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

Rosa rubicundior,
lilio candidior,
omnibus formosior,
semper in te glorior!

21. In trutina — In the balance

In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.

In the wavering balance of my feelings
set against each other,
lascivious love and modesty.
But I choose what I see,
and submit my neck to the yoke;
I yield to the sweet yoke.

22. Tempus est iocundum — This is the joyful time

Tempus est iocundum,
o virgines,
modo congaudete
vos iuvenes.

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

Mea me confortat
promissio,
mea me deportat
negatio.

I am heartened by my promise,
I am downcast by refusal.

Tempore brumali
vir patiens,
animo vernali
lasciviens.

In the winter
man is patient,
the breath of spring
makes him lust.

O Fortuna,
velut luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curat
ludo mentis aciem,
egestatem,
potestatem
dissolvit ut glaciem.

O Fortune,
like the moon
you are changeable,
ever waxing
and waning;
hateful life
first oppresses
and then soothes
as fancy takes it;
poverty
and power
it melts them like ice.

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!

Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.

My virginity makes me frisky,
my simplicity holds me back.

Mea mecum ludit
virginitas,
mea me detrudit
simplicitas.

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!

Oh, oh, oh,
totus floreo,
iam amore virginali
totus ardeo,
novus, novus amor
est, quo pereo.

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

Veni, domicella,
cum gaudio,
veni, veni, pulchra,
iam pereo.

23. Dulcissime — Sweetest one

Sweetest one!
I give myself to you totally!

Dulcissime,
totam tibi subdo me!

Blanziflor et Helena — Blanchefleur and Helen

24. Ave formosissima — Hail, most beautiful one

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!

Ave formosissima,
gemma pretiosa,
ave decus virginum,
virgo gloriosa,
ave mundi luminar,
ave mundi rosa,
Blanziflor et Helena,
Venus generosa!

Fortuna Imperatrix Mundi — Fortune, Empress of the World

25. O Fortuna — O Fortune (reprise)

Fate — monstrous
and empty,
you whirling wheel,
you are malevolent,
well-being is vain
and always fades to nothing,
shadowed
and veiled
you plague me too;
now through the game
I bring my bare back
to your villainy.

Sors immanis
et inanis,
rota tu volubilis,
status malus,
vana salus
semper dissolubilis,
obumbrata
et velata
michi quoque niteris;
nunc per ludum
dorsum nudum
fero tui sceleris.

Fate is against me
in health
and virtue,
driven on
and weighted down,
always enslaved.
So at this hour
without delay
pluck the vibrating strings;
since Fate
strikes down the strong man,
everyone weep with me!

Sors salutis
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
sternit fortem,
mecum omnes plangite!