1/10/2024 0 Comments Carmina burana composerTrue, the last movement in Gorecki’s Symphony No. Such a switch probably would not do much to change the overall effect of the piece. 3, I had the irreverent notion of switching the order of the second and third movement. But I’m damned if I can figure out how it actually relates to the rest of the piece. ![]() It’s a marvelous piece on its own-as attested to by the innumerable uses in various films and commercials. In Carmina Burana , the final return of O Fortuna (Oh, Fortune!) ,with its famous choral wall of sound, certainly rounded out the architecture of the piece, but it neither summarized or elevated all the music before it. But for me, I sensed an almost mechanical calculation and I wasn’t entirely buying it. It apparently worked for most of the audience. Instead, what I think was bothering me was that both of them have a grand intention to achieve a state of transcendence and profundity. I also don’t mean to imply that the composers themselves were manipulative or in any way ungenuine in their musical aims. I’m not saying that there is anything phony or fake about either piece, or that both pieces weren’t carefully composed. Somehow, despite the certainty that I had heard many beautiful moments, I couldn’t decide if I was genuinely moved or whether I’d been had!īefore you get upset (but don’t let me stop you!), allow me to stress what I’m not saying. ![]() So why did I leave both concerts with such complex feelings? Unlike my listening friends, I did not leave either concert walking on air. Many people went beyond thanking me for my talks to say that the Gorecki 3rd particularly was the most moving concert experience of their lives. Notwithstanding a small handful of people who actually walked out in the middle of both these pieces, audience reaction was intense adoration, and I have the emails to prove it. 3 (Symphony of Sorrowful Songs)- performed by Gustavo Dudamel and the Los Angeles Philharmonic. Consider two phrases we don’t often hear in proximity: “contemporary concert music” and “audiences deeply moved to joy and tears.” Yet that reaction was abundantly evident in two recent performances for which I gave preconcert talks: Carl Orff’s Carmina Burana (performed by Brott and the New West Symphony) and Henryk Gorecki’s Symphony No.
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