In 1956, Orff's disciple Wilhelm Killmayer created a reduced version for soloists, SATB mixed choir, children's choir, two pianos and six percussion (timpani + 5), and was authorized by Orff. The score has short solos for three tenors, baritone and two basses. This version is to allow smaller ensembles the opportunity to perform the piece.[20][21][22][23]
Carmina Burana, a collaboration between the Schola Cantorum and NWA Ballet Theatre, will bring together music and ballet for a striking visual performance of one of the most popular, powerful and preeminent works of all time. The Schola Cantorum of the U of A will provide the music of Carl Orff's score, accompanied by soloists, two pianos and percussion. NWA Ballet Theatre will provide powerful choreography set on the company professional dancers, as well as a stunning visual concept.
Upon completing Carmina Burana Orff disavowed all his prior published work as too extravagantly harmonized, insufficiently rhythmic and thickly orchestrated. All his further output eschewed the standard songs, symphonies, concertos and even solo or chamber pieces of other composers to focus exclusively upon oratorio and opera. Carmina Burana became the first part of a tryptich. Catulli Carmina (1943) was even bolder in its use and distillation of spare materials. Although scored for four pianos, percussion, solo voices and chorus, all but the opening and closing is a capella, the spell of its intensely rhythmic repetitions occasionally relieved by declamation to tell the tale of the Roman poet Catullus' obsession for a consul's wife. To Orff's trademark ancient texts, unwavering harmonies and parallel motion are added insistent rhythms, extreme dynamics and contrasts between men's and women's voices for an extraordinarily challenging and exhausting yet invigorating singers' workout.
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