Golden Anniversary Choral Spectacular - The Grant Park Music ...

Grant Park Orchestra and Chorus 

Carlos Kalmar, Principal Conductor 

Christopher Bell, Chorus Director 

Golden Anniversary Choral Spectacular 

Friday, June 29, 2012 at 6:30PM 

Saturday, June 30, 2012 at 7:30PM 

Jay Pritzker Pavilion 

Grant Park Chorus 

Carlos Kalmar, Conductor 

Christopher Bell, Chorus Director & Conductor 

Saira Annaliese Frank, Soprano* 

Mary Elizabeth MacKenzie, Soprano† 

Sarah Ponder, Mezzo-Soprano* 

Hoss Brock, Tenor* ° 

STRAVINSKY Les Noces * 

Part I 

At the Bride’s House (“The Tresses”) 

At the Bridegroom’s House 

The Bride’s Departure 

Part II 

The Wedding Feast 

WHITACRE Cloudburst 

ToRMIS Raua Needmine ° 

INTERMISSIoN 

oRFF Carmina Burana † 

Fortuna Imperatrix Mundi 

I. Primo Vere 

II. In Taberna 

III. Cour d’amours 

Fortuna Imperatrix Mundi 

This concert is sponsored by: 

Grant Park Chorus 50th Anniversary Sponsor 

Peder Reiff, Tenor† 

Daniel Eifert, Bass† 

Thomas Hall, Bass* ° 

Anima Children’s Chorus 

Emily Ellsworth, Director 

2012 Program Notes, Book 2 A13

AniMA (formerly the Glen Ellyn Children’s 

Chorus) celebrates its 47th year with the 2011- 

2012 season. one of the leading children and 

youth choral organizations in North America, 

its rich heritage has served as an artistic and 

educational model for many years. William 

Mason, General Director of Lyric opera of 

Chicago, recently wrote about Anima, “I simply 

cannot say enough about how superb they were 

at every performance. They performed with 

extreme professionalism and are marvelously 

pleasant and disciplined.” Recent awards include 

the once-in-an-organizational lifetime Margaret 

Hillis Award for Choral Excellence from Chorus 

America in 2008 and the 2009 Dale Warland 

Singers Commissioning Award from Chorus America, funded by the American Composers 

Forum. The Chorus is dedicated to transforming young lives through excellence in music 

education and choral singing. Its five ensembles serve 200 children from over 30 different 

Chicago communities, with outreach programs reaching 1200 additional children annually. 

International tours have taken the Chorus to six continents, most recently to Spain and 

Morocco in 2010. Anima (AH-nee-mah) is the Latin word for breath, life, soul, spirit. 

AniMA YOunG SinGErS OF GrEATEr CHiCAGO 

Emily Ellsworth, Artistic Director 

William Buhr, Principal Accompanist 

Ron Korbitz, Assistant Conductor 

Megan Drahos, Assistant Conductor 

Alyssa Antolin, Eileen Baird, Lucy Baird, Sarah Baird, Jesslyn Cohen, Jessica Costenaro, Johanna 

Crawford, Brennan Dougherty, Amanda DuMerer, Julia Garcia, Kathrene Garcia, Bridget Guerin,Kate 

Harrison, Kirsten Holmberg, Benjamin Hoppe, Duncan Johnson, Elysse Keske, Amanda Kolody, 

Tommy Kolody, Kellen Klapatch, Nathan Klapatch, Marissa Kuick, Anthony Lanzillo, Becca Loiacono, 

Tara Lumb, Leslie Lynch, Isabella Main, Natasha Martinez, Janna McAndrews, Alina Milasius, Brendan 

Parravano, Audrey Pauer, Noelle Pekny, Hailey Quinn, Natalia Salgado, Julia San Filippo, olivia Smith, 

Joseph Stella, Ian Strasma, Annie Wagner, Brooke Wills, Madelynn Zeller 

“With her strong, silvery soprano, SAirA FrAnK shines,” raved 

Madison’s Capitol Times. Recent performances include Duchess 

Christina in Philip Glass’ Galileo Galilei with Madison opera. other 

roles in her diverse repertory include Tatiana in Eugene Onegin, 

The Merry Widow and Alcina. She holds degrees in voice and 

French from Northwestern University and a master’s in opera from 

the UW-Madison. 

Described by the New York Times as 

“a soprano of extraordinary agility and concentration” MArY 

ELizABETH MACKEnziE made her professional opera debut 

as Despina in Così fan tutte with Madison opera. Notable solo 

appearances include Jean Barraqué’s Chant Aprés Chant with 

the Juilliard Percussion Ensemble at Alice Tully Hall, Schoenberg’s 

String Quartet No. 2 with the Borromeo String Quartet, Pierre 

Boulez’s Improvisations sur Mallarmé No. 1 & 2 for the composer’s 

85th birthday celebration, and Schoenberg’s Pierrot Lunaire with 

Carnegie Hall’s Academy Ensemble. 

A14 2012 Program Notes, Book 2 

Friday, June 29 and Saturday, June 30, 2012

Friday, June 29 and Saturday, June 30, 2012 

Mezzo-soprano, SArAH POnDEr frequently performs as both 

a soloist and ensemble singer with Chicago’s finest musical 

organizations. Favorite recent performances include a recital 

with the Musicians Club of Women “Award Winners in Concert” 

Series, the role of Ino in Handel’s Semele, and solo appearances 

with Maestro Riccardo Muti as part of her continued work as a 

Teaching Artist with the Chicago Symphony orchestra’s outreach 

programs. In addition to her performing and outreach work, Sarah 

also maintains a large private studio. 

Tenor HOSS BrOCK’S operatic credits include the Majordomo of 

the Marschallin in Der Rosenkavalier at the San Francisco opera, 

and Ramiro in Rossini’s La Cenerentola with the San Francisco 

opera’s Merola opera Program. He is a full-time member of the 

Lyric opera Chicago chorus and Chicago a cappella. Recently he 

has performed Verdi’s Requiem with the Peninsula Music Festival, 

Baba Yetu from CIV IV at Video Games Live, and appeared in the 

American premiere of Richard Blackford’s Not in Our Time. 

Tenor PEDEr rEiFF has been a member of the Grant Park Chorus 

for nine years and is thrilled to be making his solo debut in Carmina 

Burana. A graduate of Indiana University, Peder currently holds 

the record for appearing in the greatest number of operas in a 

single season, having appeared in seven operas in one year. Peder 

frequently sings with the ensembles of the Lyric opera of Chicago 

and Chicago Symphony, as well as solos with many local orchestras 

and choruses. 

Bass DAniEL EiFErT is a featured soloist across the Chicago 

area whose recent engagements include the Chicago Symphony 

orchestra, Chicago Civic orchestra, Elmhurst Symphony orchestra, 

and the Apollo Chorus of Chicago. A frequent performer of the 

works of J.S. Bach, he regularly appears with the Bach Institute of 

Valparaiso University. Equally comfortable as a chorister, Daniel is a 

long-term member of the Grant Park Music Festival Chorus and the 

Chicago Symphony Chorus where he currently serves as Section 

Leader. 

Bass THOMAS HALL has been a member of the Grant Park Chorus 

since 1999. He is also a frequent soloist in both concert and opera 

performances, most recently performing the title role in a concert 

performance of Verdi’s Rigoletto with the Ann Arbor Symphony, 

Il Conte di Luna in Il Trovatore with opera de Nuevo Leon in 

Monterrey, Mexico, and Telramund in Wagner’s Lohengrin at the 

Savonlinna opera Festival in Finland. 


LES NocES, ScèNES choréGraphIquES ruSSES 

(“ThE WEddING, chorEoGraphEd ruSSIaN 

ScENES”) (1914-1923) 

iGOr STrAVinSKY (1882-1971) 

When Stravinsky was immersing himself in Russian lore and 

ritual during the composition of The Rite of Spring in 1911-1913, 

he had an idea for a new “dance cantata” with soloists and 

chorus for Serge Diaghilev’s Ballet Russe whose subject would 

be a Russian peasant wedding incorporating “actual wedding 

material through direct quotations of popular — i.e., non-literary — verse.” The 

premieres of The Rite in May 1913 and the opera The Nightingale twelve months later 

in Paris precluded any work on Les Noces until July 1914, when he went to his family’s 

estate at Ustilug in Ukraine to handle some personal affairs and gather collections of 

popular Russian poems and phrases from his father’s library. After making a research 

stop at Kiev, he returned to Salvan, Switzerland, thirty miles south of Montreux, where 

he had recently moved from Paris in order to find a secluded place to work as well as 

a haven from the growing political tensions on the Continent. World War I erupted the 

following month and the Russian Revolution three years later, and the visit to Ustilug 

proved to be the last time he set foot in his homeland for 48 years. 

Stravinsky began to assemble the libretto for Les Noces from his sources and 

his imagination as soon as he arrived in Switzerland, and he quickly decided that 

he would omit the marriage ceremony itself in favor of four scenes that would show 

the traditional rituals and celebration of the wedding outside of the church: the 

preparations of the bride and the groom in their respective homes, the departure of 

the bride, and the wedding feast. He began composing the music in late summer 

1914 and had completed the first two scenes in piano score by the time Diaghilev and 

his troupe settled in Switzerland the following spring to wait out the war. He started 

scoring Les Noces for a massive orchestra of 150 musicians, but soon realized that such 

an ensemble was not only ill-suited to the subject and character of the work but would 

also make its performance difficult in war-torn Europe (or almost anywhere else). He 

put the score aside to work on Renard (“The Fox”), a “burlesque story” for singers and 

small orchestra for Diaghilev, and then suffered some ill health and the deaths of his 

beloved childhood nurse and his brother in 1916. When he returned to Les Noces in 

1917, he sketched the remaining two scenes and tried scoring the first two scenes for a 

smaller orchestra, but then decided that “an electrically driven piano and harmonium, 

an ensemble of percussion, two keyed bugles and two Hungarian cimbaloms” might 

be more practical and appropriate. That configuration also proved unsatisfactory, 

however (Stravinsky recalled that the “mechanical piano was grossly, irremediably and 

intolerably out of tune”), so he again shelved the work to compose The Soldier’s Tale, 

Pulcinella, Symphonies of Wind Instruments, The Song of the Nightingale and a host of 

smaller pieces. By the time he finally took up Les Noces again, in 1921, he had come 

up with the definitive solution for its scoring — a unique ensemble of four pianos and 

percussion to accompany the four vocal soloists and chorus. The score was completed 

in April 1923 and premiered by the Ballet Russe on June 13, 1923 at the Théatre de la 

Gaité Lyrique in Paris. 

Stravinsky wrote of Les Noces in his 1936 Autobiography, “It was not my intention 

to reproduce the ritual of a peasant wedding, and I paid little heed to ethnographical 

considerations. My idea was to compose a sort of scenic ceremony, using as I liked 

those ritualistic elements so abundantly provided by village customs which had been 

established for centuries in the celebration of Russian marriages. I took my inspirations 

from those customs, but reserved to myself the right to use them with absolute freedom.” 

Though Stravinsky envisioned Les Noces as primarily a work for voices (there is only a 




single measure and a brief coda of bell-tones played exclusively by the instruments), 

the soloists and chorus do not represent specific characters but rather perform the 

text somewhat in the manner of a Greek chorus, as narrators and commentators on 

the scenes rather than as participants in them. “Thus the soprano in the first scene is 

not the bride, but merely the bride’s voice,” Stravinsky explained. “The same voice 

is associated with the goose in the last scene.” other than two or three phrases, the 

music is all original with Stravinsky, though its small range, repeating motives and 

largely diatonic motion were based on folk models. The rhythm, perhaps the salient 

technical feature of Les Noces, derives from the speech inflections of the text, but its 

galvanic urgency, for which several slow passages of almost incantatory nature provide 

a foil, is Stravinsky’s creation alone. 

Kosal moya ko, 

PART 1 

Scene 1: The Bride’s Chamber (‘The Tresses’) 

THE BRIDE 

Tress my tress, o thou fair tress of my hair, 

Kosa moya kosynka rusaya! o my little tress. 

Vechor tebya, kosynka, matushka plyala, My mother brushed thee at evening, 

Serebryanym kolechkom matushka vila! Mother brushed my tress. 

Yeshcho okhti mne! o woe is me, o alas poor me. 

Chesu, pochesu Nastasinu kosu, 

BRIDESMAIDS 

I comb her golden tresses, Nastasia’s bright hair, 

Chesu, pochesu Timofeevny rusu, Timofeevna’s fair tresses. 

A yeshcho pochesu, a i kosu, zapletu, I comb and plait it, with ribbon red I twine it, 

Alu lentu uplyatu. I twine her golden hair. 

Chesu, pochesu Nastasinu kosu, I comb her fair tresses, bright golden tresses, 

Chesu, pochesu Timofeevny rusu. I comb and I twine Timofeevna’s fair tresses, 

Rusu kosu chesu, I bind her tresses, I comb them and plait them, 

Chastym grebnem raschesu. With a fine comb I dress them. 

THE BRIDE 

Priyekhala svashenka nemilostliva, Cruel, heartless, came the match-maker, 

Shto ne milostliva i ne zhalostliva! Pitiless, cruel one, pitiless, cruel one. 

Nachala kosynku rvat i shchipat — She tore my tresses, tore my bright 

golden hair, pulled it, tearing it. 

Rvat i shchipat — i rvat i shchipat, She tore my hair that she might plait it in 

Na dve zapletat, na dve zapletat — Two plaits, plaiting it in two. 

o-o-ho-ho! Yeshcho okhti mne! o woe is me, o alas, poor me. 

BRIDESMAIDS 

Chesu, pochesu Nastasinu kosu, I comb her golden tresses, Nastasia’s bright hair, 

Chesu, pochesu Timofeevny rusu, Timofeevna’s fair tresses. 

A yeshcho pochesu, a i kosu zaplyatu, I comb and plait it, I bind up her hair, 

Alu lentu uplyatu, goluboyu perevyu! With a red ribbon, twine it with a ribbon blue. 

THE BRIDE 

Kosal moya kosynka rusaya. Golden tresses bright, o my tresses fair. 

BRIDESMAIDS 

Ne klich ne klich, lebedushka, Weep not, 

Ne klich v pole belaya, o dear one, weep not, 

Ne plach ne tuzhi, Nastasyushka, Let no grief afflict thee, my dear one, 

weep no more, Nastasia, 

Ne plach, ne grusti, dusha Timofeevna! o weep no longer, my heart, my Timofeevna. 

Po batyushke, po matushke — of your father think, your mother’s care 

Po gromkom solove vo sadu. And of the nightingale in the trees. 

Kak svekor li batyushka k tebe budet milostliv, Your father-in-law, he will welcome you, 

Uzh kak svekrov li matushka k tebe budet milos Your mother-in-law will bid you welcome, 


K tebe budet zhalostliva. And tenderly will love you 

Khvetis sudar Pamfilevich u tebya As though you were their own dear child. 

solovei vo sad 

Vo vysokom teremu, vo vysokom In your garden a nightingale is singing, 

izukrashennom Noble Fetis Pamfilievitch, 

Denyochek on svistit i vsyu nochenku poyot. In the palace garden all day 

Tebya li, tebya li, Nastasyushka, he whispers cooing notes, 

Tebya li, svet Timofeevnu, At nightfall hear him singing his song of love. 

Zabavlyaet, uteshaet, Spat dolgone meshaet, ’Tis for you, Nastasia, his singing, my dear one, 

K obed ne razbuzhaet. For you alone his singing, for your happiness. 

Rai, rai! Udaly skomoroshek He shall not disturb you sleeping, in time 

s sela do sela, for mass he’ll wake you. 

Rai, rai! shtob nasha Nastasyushka, Come, let us make merry from one village 

to another. 

Shtob byla vesela, rai! Come, come, dear Nastasia shall be happy, 

Uzh shtob byla za vsegda. She must be gay and joyful. 

S pod kamushka s pod belova Come! She should always be of good cheer. 

Rucheek bezhit. ’Neath the little stones a brook flows. 

S pod kamushka s pod belova Underneath the stones a little brook is flowing, 

Tsimbalami byut i pyut i lyut Beneath the stones, making loud, happy music. 

V tarelki byut. Loud and gay it sounds like beating drums, 

Vot znat nashu Nastasyushku Like beating drums, gaily loudly making music. 

Nashu Timofeevnu k venchaniyu vedut. So Nastasia Timofeevna, so in marriage 

do we give thee. 

THE BRIDESMAIDS, THE BRIDE AND THE MoTHER 

Prechistaya Mater prikhodi k nam u khat, Virgin Mary, come to us and aid us, 

Svakhe pomogat, kosu raspletat, Plait her hair, aid us, wed her, 

Zapletit ko mne rusu kosu Nastasia fair … 

Uzh ty kornyu tugokhonko Plait, plait my little tresses, 

Sredi kosy melyokhonko Plait my hair and bind it with ribbon red, 

Pod konets-to alu lentochku. In plaits bind it tightly. 

Chesu, pochesu Nastasinu kosu, I will comb Nastasia’s fair tresses, 

Chesu, pochesu Timofeevny rusu, I bind the fair hair of my Timofeevna, 

Yeshcho pochesu Nastasinu kosu, once more I comb it and bind it with ribbon, 

Yeshcho pochesu Timofeevny rusu, A ribbon entwined about her hair, 

A yeshcho pochesu, a i kosu zapletu, Again I will comb Nastasia’s fair tresses, 

Alu lentu uplyatu. I comb them and twine them, my Timofeevna, 

Chesu, pochesu Nastasinu kosu, I twine her fair hair, with a ribbon I bind it, 

Chesu, pochesu Timofeevny rusu, A ribbon of bright red. 

Rusu kosu chesu, Blue, a ribbon blue, 

Chastym grebnem raschesu. And ribbon red, 

Uzh ty lenta, moya lentochka, Bright red, as my own lips are red. 

Ala lenta buketova, A ribbon blue, 

Buketova fialetova. As blue as my eyes. 


Scene 2: The Bridegroom’s House 

BRIDEGRooM’S FRIENDS 


Prechistaya Mat, khodi, Virgin Mary, come and aid our wedding, 

Khodi k nam u khat, Come, Mary hear our prayer, aid us as 

we comb the fair curls of Fetis. 

Svakhe pomogat kudri raschesat, Virgin Mary, comb the fair locks of Fetis, 

Khvetisevy kudri, Kudri raschesat, Pamfilicha While we brush the curls of Pamfilievitch. 

Chem chesat, chem maslit da Khetisevy kudri? Virgin Mary come. 

Chem chesat, chem maslit Wherewith shall we brush and comb 

da Pamfilicha rusy? and oil the fair locks of Fetis? 

Khodi, khodi nam u khat, Come, come to aid us, Virgin Mary, 

Svakhe pomogat, kudri raschesat. o come, Mary aid us, uncurl his fair locks. 

Kinemsya, brosimsya vo tri torga goroda Quickly let us go to the town and 

buy some pure olive oil,


Rascheshem, razmaslim Khvetisovi Kudri, And curl his locks, his fair locks. 

Kupim my, kupim my paravanskogo masla, Come Virgin Mary, come to aid our wedding, 

Rascheshem, razmaslim Pamfilicha rusy! Aid us now as we uncurl the bridegroom’s locks. 

PARENTS 

Vichor sa vichoru sidei Khvetis vo tiryomu. Last night, Fetis sat in his house all the while. 

Sidei i Pamfilich, chesal rusy kudri. Last night Pamfilievitch his locks sat brushing. 

Vy komu-to kudri dostanetes? Now to whom will these curls belong? 

Dostanetes, kudri, krasnoi devitse? Now to whom will these curls belong? 

oi, vy komu-to rusy dostanetes? Now they will belong to a rosy-lipped maiden. 

Shto Nastase Timofeevne. Do they now belong to her, to the tall one, 

Uzh ty, Nastyushka, To Nastasia, to Timofeevna? 

Polelei kudri! Now Nastasia, pour oil on them. 

Ty polelei rusy! Do you pour oil on them; 

Ty, Timofeevna, polelei rusy! You, Timofeevna, you pour oil on them. 

Kvas, shto malinoe oil the fair, the curly locks of Pamfilievitch, 

Desyatyu nalivan! The fair and curly locks. 

Uzh vilis, povilis na Khvetisu kudri, o the fair, the curly locks of Fetis, 

Vilis, povilis na Pamfilichu rusy. The fair and curly locks of Pamfilievitch. 

Ty, polelei rusy! Thy mother curled them oft, 

Zavivala ikh matushka, zavivala Saying then while she was curling them, 

Da prigovarivala: “Little son, white and rosy-cheeked little son, 

“Bud ty moye dityatko My little child, my son. 

Belo i rumyano, And another one will curl your locks, 

Rumyano i nevrochlivo! And another one will love you.” 

Da prigovarivala belo i rumyano. Shining locks and curly, whose are they? 

Kalinoe parilo! Malinoe stiralo!” o Pamfilievitch, lovely locks curly of Fetis, 

Na kom kudri, na kom rusya? Well oiled and lovingly curled. 

Na Khvetisu kudri rusya, Glory to the father, glory to the mother, 

Na Pamfilichya poraschesannya, Well have they brought up their wise 

one obedient, 

Spalat, spalat otsu materi, obedient and wise one 

Khorosho ditya vosporodili, obedient. 

Umnago i razumnago, pokornago A clever prudent child. 

i poslovnago. 

Prilegaite, kudri rusya k moemu litsu belomu, Let my fair curls be in order upon my white face, 

K moemu umu razumu, And grow used 

Da shto k obychyu molodetskomu, To my young man’s ways, my habits, 

Privykai, dusha Nastasyushka. My dandy young habits are usual there. 

CHoRUS 

A v Moskve-to tem kudryam Ah, in Moscow, dandy young habits are usual. 

Vzdivovalisya. Virgin Mary, come and aid our wedding, 

Prechistaya Mat, khodi, Aid us to brush and uncurl the locks of Fetis, 

Khodi k nam u khat, Aid us to uncurl the fair locks of Fetis. 

Svakhe pomogat kudri raschesat, Virgin Mary come and aid us to uncurl 

the fair locks of Fetis. 

Khvetisevy kudri, Holy Mother, come to us, 

Kudri raschesat, Pamfilicha rusy. Thyself come, we pray Thee. 

I ty Mater Bozhya, Come to the wedding, to the wedding. 

Sama Bogorodicha, And with Thee, all the holy Apostles. 

Pod na svadbu — Come to the wedding, to the wedding, 

I so vsemi Postolami — And with Thee come all the angels. 

I so vsemi s angelyami — Come to the wedding, to the wedding. 

Boslovi Bozha, Bozhunka, Now may God bless us all and His Son, 

Pod na svadbu! Come to the wedding, to the wedding. 

THE BRIDEGRooM 

Boslovite otech s materyu, Bless me, my father, my mother, bless me, 

Svavo tsadu, Your child who proudly goes 




Ko stolnu gradu pristupit kamennu, Against the strong wall of stone to break it. 

Stenu razbit, svoyu suzhennuyu ponyat See him, Fetis, the noble Fetis there, 

V sobor, cherkov skhodit See him, the noble Fetis, 

Serebryan krest potselovat. There to win his bride, his lady. 

Gde sidit tam Khvetis gosudar. So the candles are lighted. 

Tam svechei svetik naidet. We go now to the church and to kiss the silver, 

Bozhya milost Bogorodicha! To invoke our Lady’s blessing. 

FIRST BRIDESMAID 

Smotrelshchiki, glyadelshchiki, All that came to see the bride passing by 

Zevaki i paloshni kolyubaki Did stay to see her taken away. 

V put dorozhenku yekhati, Give you blessing, bless the prince on his way, 

Suzheno, ryazheno vzyat! The bridegroom who is gone to meet his bride, 

Boslovite tko vse knyazya novobrashnava! To wed her whose troth is plighted, 

Pod zolotoi venets stoyat! oi! on his brow to set a golden crown. 

CHoRUS 

oi! Lebedinoe pero upadalo! Ah, on his brow to set a golden crown. 

Ivan palo! See there fades the flower, too. 

Pered teremom upadalo. Falls a white feather, now the flower fades, 

Ivan palo! Fades the flower, too, fades the flower, 

Upadal Khvetis The feather falls, 

Pered rodnym batyushkoi, So did Fetis kneel down before his own father, 

Upadal Pamfilich pered rodnoi matushkoi: So did Fetis kneel before his mother graciously, 

Prosit i mene Asking their blessing upon the son 

who goes to be married, 

I boslovi ko Bozhyu sudu yekhati And may the saints go with him, guarding him, 

K svyatomu venchanitsu, May the saints go with him too, and keep 

him in their care. 

Kak privel Bog pod krestom Lord, o bless us all from oldest 

to the youngest children. 

I tak by pod ventsom. Saint Damien, bless us also. 

Baslavite vse at starava da malava. Bless us Lord, bless the bride and bridegroom, 

Kuzmu Demyanu sygrat! The oldest, the youngest, o bless us. 

Baslavi Bozha do dvukh porozhden Bless us, o Lord, and bless our wedding, 

Da stolko zhe nam svadbu sygrat. oi! Bless us, Lord, bless us all. 

Baslavi Bozha do dvukh posazhen, Bless us, o bless the father and mother, 

sister and brother. 

Baslavi Bozha Mikita poputchik, Bless us, o bless the sister and the brother, 

Mikhala Arkhangel! Bless us, we pray Thee, bless all who are faithful, 

Baslavi Bozha Rozhdestvo Khristova, All who fear and love him. 

Baslavi Bozha khrestyn baslavyati, God protect us, aid us now, God be with us now. 

K ventsu atpushchati. Abide with us, abide with us now, Saint Luke, 

Baslov Bozha, Bozhunka. Be with us, bless us, Saint Luke. 

Pod na svadbu! Pod na svadbu! Bless our marriage rites we pray thee, 

Svyaty Luka, pod na svadbu, Bless the couple whom thou hast chosen, 

Svyaty Luka, slutsi svadbu Bless the pair, Saint Luke, bless them whom thou 

Dvukh molodyonykh, slutsi posazhenykh. Thou hast chosen. 

Slutsi svadbu dvukh suzhenykh Grant, o grant thy blessing for always, 

I pervy mladen! And to their children. 

Scene 3: The Departure of the Bride 

CHoRUS 

Blagoslovlyalsya svetyol mesyats Brightly shines the moon on high, 

okolo yasnago solnushka, Beside the glowing sun, 

Blagoslovlyalas knyaginyushka Even so the princess lived in the palace happily 

U gosudarya u batyushki, Beside her aged father and her mother, 

U gosudaryni matushki. Happily beside her father and her mother dear.


BRIDE 

Blagoslovi menya, batyushka, Grant me your blessing, father, 

Da na chuzhuyu storonushku. For now I go to a foreign land. 

FATHER AND MoTHER 

Pritapelas svetsa vosku yarago See the candles burn before the icon, 

Pered obrazom dolgo stoyutsi, So I have stood before it long, 

Pristoyala knaginya skory nozhenki. So the princess stood awhile and quickly 

then away she went. 

CHoRUS 

Uzh kak boslovili oni devitsu So they gave their blessing to their daughter fair, 

Pered batsuskoi gorko platsutsi. So she before her father stood weeping, 

Da shto na chetyre na storonushki And to every quarter of the world I go. 

Khlebom solyu Spasom obrazom. Holding the icon, holding bread and salt too, 

Svyaty Kuzma pod na svadbu! Holding bread and holding salt too. 

Svyaty Kuzma Demyan pod na svadbu! Thou Saints Cosmo and Damien come with us, 

Vo gornitse vo svyatlitse o come with us, 

Dva golubya na tyablitse. Saint Cosmo, grant that the wedding prosper, 

Svyaty Kuzma, skui nam svadbu, Enduring from youth unto age, 

Skui nam krepku, krepku tverdu, Enduring from youth to old age. 

Dolgovetnu, vekovetnu, To the room where the two little doves sit, 

S mladosti i do starosti I do malykh detushek! Two little doves in a small room, 

Vo gornitse vo svetlitse Holy Cosmo and Damien walked 

about the hall and came back. 

Dva golubya na tyablitse, To our children, even unto them. 

oni pyut, oni pyut i lyut, In the little room, the happy room, 

V politiry byut, v tsimbali podygryvayut. There are sitting two little doves. 

Svyaty Kuzma, pod na svadbu, There is singing, dancing, drinking too. 

Svyaty Kuzma, slutsi svadbu Tambourines sounding, cymbals clashing 

S malosti do starosti Long and happy union grant thou them. 

I do malykh detushek! May the wedding endure from their youth, 

Kuzma Demyan po senyam khodila, From their youth unto old age and unto 

their children. 

Gvozdi sobirala, svadebku kovala. Holy Cosmo and Damien walked about the hall, 

I ty, sama Mat Bozhya sama Bogorodicha, They walked about the hall and they came back. 

Pod na svadbu, slutsi svadbu, Virgin Mary, give Thy blessing, 

Slutsi svadbu, slutsi krepku, Virgin Mary, Mother of our blest Saviour, 

grant Thy blessing on this union. 

I so vsemi s Postolami, The apostles and all angels, 

as the hops entwine together, 

I so vsemi s Angelyami. So our newly married couple cling together, 

I kak vyotsya khmel po tytsyu, As one they cling together, as the hops 

entwine together. 

Tak by nashi molodye vilis drug kolo drugu! So they cling together, as the hops entwine. 

Enter the mothers of the groom and bride from either side of stage. 

MoTHERS 

Rodimoe moyo dityatko, moyo miloe, My dear one, child of mine, my little one, 

Ne pokin menya goremychnuyu! Do not leave me, my dear one, child of mine, 

Vorotis, moya dityatka, vorotis, moya milaya, Do not leave me, come again to me. 

Rodimoe moyo dityatko, My own, my child, 

Poila bylo ya kormila tebya. Dear child of mine. 

Vorotis, moya milaya, Ah, do not leave me lonely, my dear one, 

Zabyla ty, dityatko, na stopke Child you have forgotten, dear one, 

the golden keys hanging, 

Zoloty klyuchi na shelkovom poyase. Hanging golden keys, hanging there, 

Rodimoe dityatko. My own little child, dear one. 

The mothers go out. 



PART II 

Scene 4: The Wedding Feast 

CHoRUS 


Yagoda s yagodoi sokatilasya, Berries two there were on a branch, 

they fell to the ground, 

Yogoda yagode poklonilasya. one berry bows to another berry. 

Ai lyuli, lyuli, lyuli! Lyushenki ai lyuli! Ai, louli, louli, louli! Louchenki, ai louli, 

Yagodka krasna! Zemlyanichka spela, A very red one and a strawberry did ripen, 

Ai lyushenki lyuli! Ai, louchenki, louli. 

Yagoda yagode slovo molvila, And one berry to another spoke sweetly, 

Yagoda ot yagody ne vdali rosla. Close one berry grew to another, 

Vesyol, vesyol khodit i Fedor Tikhnavich, And one berry represents 

Nashyol zolot perstin, The noble bridegroom, Fetis, 

Zolot s dorogim sy kamenem. And the other, Nastasia, ’tis the white one. 

odna-to yagoda Khvetisushka sudar, So gaily goes he, Theodor Tichnovitch, 

A drugaya yagoda Nastasyushka dusha. I found a golden ring set with precious stones. 

Yunyv, yunyv khodit Palagei Spanovich, Who comes here so gaily? Palagy Spanovitch, 

Poteryal zolot perstin, Who comes here so gaily? Palagy Spanovitch. 

Zolot s daragim sy kamenyam. I have lost the golden ring set 

with precious stones. 

Letala gusynya, letala! oh, poor me, poor Palagy, no more is gay, 

Letala seraya, letala. No more is he gay, oh, poor Palagy. 

A yagoda yagode poklonilasya, Flying comes a grey, a little goose. 

Yagoda yagode slovo molvila. one red berry bows to another red berry, 

Letala gusinya, letala seraya, one red berry spoke to another red berry. 

Krylya primakhala. Flying comes a grey, a little goose, 

Mazoli potirala. Flying comes a grey little goose. 

Stolby skolykhala, Now its wings are beating, its tiny feet 

are scratching, raising clouds of dust, 

Boyar probuzhdala. Making all the nobles notice. 

BRIDE’S FATHER 

Vot tebe, zhana, ot Boga sazhdana. Now behold your wife, whom God hath given you. 

CHoRUS 

Sei lyon da kanapli. And what did we tell you, 

Ai, my tebe, Nastyushka, govorili — Dear Nastasia? 

Sprashivai s neyo rubashki da portki! Your wife must sew and spin, she must 

keep the linen 

oi, my tebe, milaya, govorili! And sew and spin the flax white. 

The bride’s mother leads her to her son-in-law. 

BRIDE’S MoTHER 

Zyatik moi lyubezny vruchayu To you I entrust her, my son-in-law, 

Tebe docheryu lyubeznuyu. I entrust her, my daughter dear. 

CHoRUS 

Sei lyon da zamashki, Let her sew the linen, food you shall give 

her and clothe her, 

Sprashivai s neyo rubashki, Give her to eat and to drink 

Poi, kormi da odevai, And set her to work, you feed her 

Da na rabotu otpravlyai And clothe her and bid her work. 

FATHER 

Rubi drova. You saw the logs. Ask again. 

CHoRUS 

Lyubi kak dushu, tryasi kak grushu! Love her and shake her like a pear tree. 

Boyare vstavali v charki nalivali, They are come, our nobles, fill the goblets, 

Gostei obkhodili, Marye podnosili: Round the tables going, fill the goblets,


Vypei, Matushka, Skushai Kharitonovna! Going among the guests and toasting Mary. 

Ne pyu, ne kushayu, Drink little mother, eat thou Maritovna. 

Boyar ne slushayu. I do not drink, I do not eat, I listen here, 

Kaby byl Simeón? Listen to the nobles as they eat and 

drink their wine. 

Ya by spila, skushala, If our Simon were here, 

Boyar poslushala’. o you gay, noisy chattering goose, 

where have you been? 

oi ty, gusynya, Noisy goose, where have you been and 

what did you see there? 

Zvonkaya, kitaiskaya! A Chinaman? Where have you been, 

what did you see there? 

Uzh ty gde gusynya zvonkaya, I have been far away at sea, 

Gde pobiyvala i shto videla? A swan-necked maiden in the sea was bathing, 

“I ya byla na sinem na mori, Washing there her Sunday dress. 

Na mori, na ‘zere, lyuli na mori, na ‘zere. A little white swan did you see there 

Na tom li na mori, na ‘zere lebyad And did you see a little white swan. 

belaya kupala 

Lyuli, na belo palaskalasya.” And how should not I have seen the sea. 

Videl li ty, beloi lebyodku? I not have seen the sea? 

“Da i kak zhe mnc da na mori, How should not I have seen the sea, 

na mori ne byvat, seen the little swan? 

Da i kak zhe mne lebyodushki ne vidat? Ay, beneath his wing the swan hides his mate. 

U lebedya lebedyushka pod krylom, Two white swans in the sea were swimming 

U lebedya kosataya pod krylom, In the sea, two swans. 

U Khvetisa — to Nastasyushka pod bochkom, Ay, and Fetis holds Nastasia right tenderly, 

U Khvetisa Timofeevna pod kiylom.” And Fetis holds his bride to him tenderly. 

FIRST BRIDESMAID 

oi chem zhe ty Nastasyushka udala? And you, Nastasia, what have you done? 

BRIDE 

Ya po poyas vo zolote obvilas I have donned a golden belt, 

Zhemchuzhnye makhorchiki do zemli. It is plaited with pearls that hang to the ground. 

okh, poinik, propoinik, nastin batyushka 

BEST MAN 

o you merry old rogue. 

Propil svoyu chadu za vinnuyu charu. Nastasia’s father, you, 

Na vinnoi charochke, He has sold his child for wine, 

Ne medovoi stopochke! For flowing goblets. 

CHoRUS 

Svyatushki! Povorashivaites, Now all you who are come to the feast, 

Podavaite nevestu, Lead the bride in, the bridegroom 

is waiting, lonely, 

Zhenikh skuchaet! Holding a goblet of rare old wine. 

Krasny devitsy, pirozhny yamasteritsy, You fair maids, and you pastry-cooks, 

and you plate-washers, 

Gorshechnya pagubnitsy, You good-for-nothings, you chatterboxes, 

Zhenushki posivya, zheny podkhilya, All you lazy wives, you silly Reds, foolish ones, 

Malye rebyata, And all you naughty ones 

Gorokhovy tati, markovnye pagubniki! Who are among the wedding guests. 

Poitepesni! 

one of the friends chooses among the guests a man and his wife, 

and sends them to warm the bed for the bridal pair. 

Raise your voices. 

Khvetisushka skazhet: “Spat khochu.” Hear the bridegroom say, “I would sleep now.” 

Nastasyushka molvit: “I ya s toboi.” And the bride reply, “Take me with you.” 

Khvetisushka skazhet: “Korovat tesna.” Hear the bridegroom say, “Is the bed narrow?” 

Natasyushka molvit: “Budet s nas.” And the bride reply, “Not too narrow.” 

Khvetisushka skazhet: “Deyalo kholodno.” Hear the bridegroom say, “How cold 

are the blankets?” 




Nastasyushka molvit: “Budet teplo.” And the bride reply, “They shall warm them.” 

To Khvetisu pesenka, da shto yasnomu sokolu ’Tis to thee Fetis sing we this little song, 

I so beloi lebyodushkoi, svet Nastasei 

Timofeevn 

And to the little dove, the white one, 

Slyshish li Khvetis Gospodin? To Nastasia, to our Timofeevna, too. 

Slyshish li Pamfilevich? Hear us, Fetis. Hear us, Pamfilievitch. 

My vam pesnyu poyom, my vam 

ehest vozdayom 

We are honoring you, we sing to you. 

Ne lezhi y krute berege. Do not lie thus by the steep river bank, 

Ne sidi, Savelyushka, Ay, sit down, Savelyouchka, 

Vo besedushke. Sryazhai svadebku In a summer house, a wedding prepare 

Khvetisavu! 

GUESTS 

now for Fetis. 

okh, na izbe zelya, uvyzbe veselya. In the farmhouse see how jolly a feast is held, 

Za stolom boyare, Nobles sat at table drinking honey and wine, 

oni myod, vino pili, rechi govorili: And all the while made speeches, 

U menya svadebka na divo suryazhena, Merrily, oh merrily, our wedding went truly. 

Devyati varov pivo vareno, Nine kinds of beer the good wife had prepared, 

A desyaty var zelena vina. But the tenth is finest, the best of all. 

Vedut Nastasyushku na chuzhu storonu. our Nastasia goes to dwell in a distant country. 

Na chuzhoi storone umeyuchi devke, Wisely shall she live there and in happiness 

let her be submissive, 

Umeyuchi zhit! Let her be obedient. 

Vse pokornoi devke, vse pokornoi byt. She who knows how to be obedient and happy. 

Pokornoi golovushke vezde Bow then courteously, both to the old 

Iyubo khorosho. and the young ones. 

I staromu i malomu vse nizki poklon, To the very youngest maidens you must 

bow lower. 

Molodym molodushkam po nizhe etogo. In the garden there, Fetis stood and looked 

Po ulitse, da po shirokoi ulitse khodil, Upon the marks of his Nastasia’s feet, 

Gulyal molodets. His own Nastasia. 

Po zelenom sadu, po Nastinam sledam, A smart young dandy, a dandy went 

walking down the street, 

Glyadel, smotrel Khvetisushka na Down the long wide street 

Nastyushku svoyu: Walking. 

Svyazal svoyu golovu shlyapoi pukhovoyu. on his head he wore a fine furry cap for winter. 

U moyei, u Nastyushki pokhodochka My Nastasia walks very quickly 

chastaya, and her new little coat, 

Shubochka novaya, opushka bobrovaya. It is cosily lined with the fur of martens. 

FRIENDS 

Nastya chernobrovaya! Black her brows and beautiful. 

Nu-ka rodimy batyushka, 

oNE oF THE FRIENDS 

Now then, old man, come and drink 

a little glass of wine, 

Ryumochku vypivai! Drink a good glass of wine. 

MEN, FRIENDS AND WoMEN 

Nashikh molodykh odaryai! Toast the happy married couple, 

Nashim molodym mnogo nado, For our married ones 

odni khotyat domishkom zhit, 

domishka pribav 

Need many things. 

Na uglu banyu postavit. They want to have a little house, 

Ty zaidesh da poparishsya, A bath will they build 

A poslei togo pokhvalishsya: For themselves there. 

Vot kak stali nashi molodye-to zhit! You come and have a bath, afterwards you


will be warmed. 

Gorko! okh! okh! Nelzya pit! So did our married pair begin 

their happy days together. 

Nu-zhe, nu-zhe, nu ryumochku vypivai, Now then! Now then! 

A nashikh molodykh daryai! Drink to their health, toast our pair. 

The bride and bridegroom embrace one another. 

CHoRUS 

Eta, eta, eta, khot kuda, eta i taper stoit rublya, Drink again, toast the pair, 

A kak yei, yei boka nadut, za etaku i dva, And embrace the two. 

dva dadut. 

Khot by tak, khot by tak, khot by rublikov, This one, this one, this one, this is good, 

Khot by pyat, a kogda budet tvoya chest, This one even now cost a ruble, 

Khot by rublikov, khot by chest. But if you squeeze it in your hand, 

Volga reka razlivaetsya, Squeeze it tightly, it costs double that. 

Zyatik u vorot ubivaetsya: I don’t care at all though it costs as much. 

“Akh tyoshsha moya, tyoshsha laskovaya!” Now the river Volga overflows 

Khot by tak, khot by tak, And before the gate I hear one calling, 

Khot by rublikov pyat. “oh mother dear, 

A kogda budet tvoya chest, My mother dear 

Khot by rublikov, khot by shest. Who calls me.” 

oNE oF THE FRIENDS 

Ai vy, druzhki, spely, All you silly maidens 

Shto devka detinke Tell me who the maiden 

Vse boka protolkala. Was who ruled her true love. 

V kletochku zvala! If we’ve got your daughter 

A otdali nam devku, otdaitya postelku! Let’s have a bed, too! 

Those who are warming the bed go out. Fetis and Nastasia are conducted to the bed 

and laid in it, after which they left alone, and the door is shut. 

ALL 

The fathers and mothers settle themselves on a bench before the door, everybody facing them. 

Pastelya moya, karavatushka! Lovely little bed 

Na karavatushke perinushka, Where I lay me down, 

Na perinushke uzgolovitsa. How soft the pillow where I lay my head. 

U zgolovitsa odiyalitsa, Soft the pillow where I lay my head, 

folded in the soft blankets, 

Pod dialitsom dobry molodets. Folded in the blankets, the blankets warm, 

Dobry molodets Khvetisushka, See our Fetis Pamfilievitch. 

Khvetis Pamfilev 

Vorobei vorobku paruet posadivshi The little sparrow makes first his nest, 

na karavat. then takes his mate to be with him. 

Khvetisushka Nastasyushku tseluit, Fetis holds Nastasia and kisses his bride, 

Yon tseluit miluit, Na ruchku kladyot, Kisses her and holds in his hand her little hand. 

Ky serdechku zhmyo. Holds her hand and presses it upon his heart, 

Akh ty dushka, zhyonushka, Holds her hand and lays it upon his heart. 

Dannaya moya poglyadenya, Dear heart, little wife, my own dearest treasure, 

Nochnaya moya zabava, My sweet, my honey. 

Pazhivyom my s toboi kharashenichka, Dearest flower and treasure, sweetest wife, 

Shtoby lyudi nam zavidyvali. Let us live in happiness that all men may envy us. 


cLoudburST (1991) 

Eric Whitacre (born in 1970) 



Eric Whitacre initially gained notice as a composer in 1993 when 

he received First Prize in the American Choral Directors Association’s 

“Composers of the Future” competition for Cloudburst; he was 23 

years old and had only started reading musical notation five years 

before. Whitacre, born in Reno, Nevada in 1970, taught himself 

piano and played synthesizers and wrote a few tunes for a garage 

band in high school. Though he had received no formal training 

and was not fluent reading music, he showed enough ambition and talent that he was 

admitted in 1988 to the University of Nevada/Las Vegas as a music education major, 

vaguely hoping that it might help his career in pop music. (“I was astonished to find that 

there was no degree program offered for future pop stars,” he recalled.) It was an encounter 

during his sophomore year with David Weiller, the choral conductor at UNLV, that changed 

Whitacre’s life: “He auditioned me to sing in one of his groups and graciously accepted 

me into the university chorus. I distinctly remember how weird I thought the choir people 

were, with their embarrassing stretches and warm-ups, and undoubtedly the only reason 

I stayed in class was because there were so many cute girls in the soprano section…. The 

first piece we sang was the Mozart Requiem. It was like seeing color for the first time, and 

I was regularly moved to tears during rehearsals, crushed by the impossible beauty of the 

work. I became a choir geek of the highest magnitude.” 

In the fall of 1991, Whitacre used his new-found notational skills to make an a cappella 

setting of Edmund Waller’s Go, Lovely Rose for Weiller; Weiller not only performed the 

work in Las Vegas but also used it to close the choir’s tour concerts in Hawaii the following


spring. Later in 1991, Whitacre composed Ghost Train for symphonic wind band (which has 

become a staple of the wind ensemble repertory) and Cloudburst for chorus. After finishing 

his baccalaureate at UNLV in 1995, Whitacre completed his master’s degree in composition 

at the Juilliard School during the next two years, studying there with David Diamond and 

Pulitzer Prize and oscar-winning composer John Corigliano. He moved to Los Angeles 

in 1997, and has since devoted himself to composing, conducting concerts, festivals and 

choral workshops across North and South America, Europe and Asia, serving as chorus 

master for the Nevada Symphony orchestra, and fulfilling residencies with Cambridge 

University, Pacific Chorale, Cincinnati Conservatory of Music, Northwestern University, 

Marktoberdorf Music Festival (Germany), NoW Contemporary Music Festival (Columbus, 

ohio) and Mid-Europe Festival (Schladming, Austria, the biggest wind orchestra festival 

in Europe). He has also collaborated with composer Hans Zimmer on the score for the 

feature film Pirates of the Caribbean: On Stranger Tides and written the music, book and 

lyrics for Paradise Lost: Shadows and Wings, a musical based loosely on Milton. After 

being premiered in Pasadena in 2007 starring his wife, Grammy Award-winning soprano 

Hila Plitman, Paradise Lost won the ASCAP Harold Arlen Award and the Richard Rodgers 

Award, and received ten nominations for Los Angeles Stage Alliance ovation Awards. In 

2010, Whitacre signed a core recording contract with Universal/Decca; his debut album 

on that label, Light & Gold, became the No. 1 Classical Album in the United States and 

England within a week of its release in october 2010. Also in 2010, Whitacre organized 

the first “Virtual Choir,” in which 185 vocalists from twelve countries individually submitted 

videos of their singing the appropriate voice part while watching him conduct his Lux 

Aurumque on YouTube; the finished video of the mixed voices received over a million 

views in just two months. Virtual Choir 2.0 (April 2011, performing Sleep) involved over 

2,000 voices from 58 countries (see http://ericwhitacre.com/the-virtual-choir). In addition 

to his “Composers of the Future” award, Whitacre has been honored by the Barlow 

International Composition Competition, ASCAP, American Composers Forum and other 

leading musical organizations; in 2001 he became the youngest recipient ever awarded 

the coveted Raymond C. Brock commission by the American Choral Directors Association. 

Whitacre wrote that Cloudburst, a setting of El cántaro roto (“The Broken Water Jar”) 

by the Nobel Prize-winning Mexican poet, writer and diplomat octavio Paz (1914-1998), 

“is a ceremony, a celebration of the unleashed kinetic energy in all things. The mood 

throughout is reverent, meditative and centered. This does not imply solemn or calm; it 

simply means the performer must take the spiritual journey with total respect for the power 

of the water and the profundity of the rebirth.” The first section, which encompasses all 

of Paz’s verses, is for chorus alone; bells, percussion and piano join with the clapping and 

finger-snapping of the singers to create a musical simulacrum of the title in Cloudburst’s 

closing portion. 

La lluvia … The rain … 

ojos de agua de sombra, Eyes of shadow-water, 

ojos de agua de pozo, eyes of well-water, 

ojos de agua de sueño. eyes of dream-water. 

Soles azules, verdes remolinos, Blue suns, green whirlwinds, 

picos de luz que abren astros birdbeaks of light pecking open 

como granadas. pomegranate stars. 

¿Dime, tierra quemada, no hay agua? But tell me, burnt earth, is there no water? 

¿Hay sólo sangre, sólo hay polvo, only blood, only dust, 

sólo pisadas de pies desnudos sobre la espina? only naked footsteps on the thorns? 

La lluvia despierta … The rain awakens … 

Hay que dormir con los ojos abiertos, We must sleep with open eyes, 

hay que soñar con les manos, we must dream with our hands, 


soñemos sueños activos de río we must dream the dreams of a river 

buscando su cauce, seeking its course, 

sueños de sol soñando sus mundos, of the sun dreaming its worlds, 

hay que soñar en voz alta, we must dream aloud, 

hay que cantar hasta que el canto eche, we must sing till the song puts forth roots, 

raíces, tronco, ramas, pájaros, astros, trunk, branches, birds, stars, 

hay que desenterrar la palabra perdida, we must find the lost word, 

recordar lo que dicen la sangre, and remember what the blood, 

la marea, la tierra y el cuerpo, the tides, the earth, and the body say, 

volver al punto de partida … and return to the point of departure … 

raua NEEdMINE (“curSE upoN IroN”) 

(1972; rEViSED 1991) 

Veljo Tormis (born in 1930) 

Veljo Tormis was born on August 7, 1930 into a musical 

family in Kuusalu, near the Estonian capital city of Tallinn, and 

received his early music instruction from his father, the organist 

and choir director at a local Lutheran church. Tormis began his 

formal studies at the Tallinn Conservatory in 1943, but illness 

and the exigencies of World War II interrupted his education. He 

resumed his training at the Conservatory in 1949, studying organ and choral conducting 

and beginning to compose, and won his first composition prize the following year for 

Ringmängulaul (“Circle Game Song”) on a text by the historian and critic Lea Rummo, 

who later became his wife. Tormis continued his studies at the Moscow Conservatory 

from 1951 to 1956, where his teachers included Vissarion Shebalin and Yury Fortunatov; 

Dmitri Shostakovich was chairman of the jury for his graduation examination. From 1956 

to 1960, Tormis taught theory and composition at the Tallinn Conservatory, where the 

gifted Arvo Pärt was among his students. He also served as a consultant to the Estonian 

Composers’ Union between 1956 and 1969 and as the organization’s vice-president from 

1974 to 1989. He announced his retirement from composition in 2000 on his seventieth 

birthday, thereafter calling himself “Composer Emeritus” and placing a plaque to that 

effect over the doorbell to his flat in Tallinn. Tormis’ many distinctions include the titles 

of Estonian SSR Honored Worker in Arts, ESSR People’s Artist and USSR People’s Artist, 

and winning the Soviet Estonia Prize, USSR State Prize, ESSR Annual Prize for Music, 

Estonian State Cultural Award, Composition Prize of the Estonian Music Council and 

the order of Friendship of Peoples; in 1998, he received the Estonian National Culture 

Foundation Prize for his life’s work, and in 2009, he was granted the First Class order of 

the National Coat of Arms. 

Tormis wrote, “The most essential part of my work is choral music, the most essential 

part of which, in turn, is connected with the ancient folk song of Estonians and other 

Finnic peoples. My music can by no means be labelled as folk or world music. It is rather 

an attempt to preserve the authenticity of the source material, making a compromise 

with the forms and performing opportunities of modern music…. My best-known 

compositions in the choral field are the incantation Raua Needmine (‘Curse Upon Iron’) 

and the extended series Eesti Kalendrilaulud (‘Estonian Calendar Songs,’ 29 runic songs 

about the peasant’s work throughout the course of the year) and Unustatud rahvad 

(‘Forgotten Peoples,’ on motifs from Livonian, Votic, Izhorian, Ingrian Finnish, Vepsian 

and Karelian folklore). All in all, I have written about sixty cycles or series, about forty 

extended choral works and about eighty songs for a cappella choir. In other genres, 

the overture No. 2 for orchestra, the opera Swan’s Flight (‘Luigelend’) and the cantataballet 

Estonian Ballads (‘Eesti ballaadid’) have gained wide critical acclaim. 

“The idea of Raua Needmine (‘Curse Upon Iron,’ 1972) was on my mind for years 




before I found a perfect form for it in an enchanting repetitive ostinato accompanied by 

a shamanic drum. I combined those elements with modern choral techniques. The idea 

of the composition derives from shamanism: in order to acquire power over a material 

or immaterial thing, one communicates knowledge to the object. Thus the describing 

and explaining of the birth of iron to iron itself forms a part of the shamanic process. 

The magical rite is performed to restrain the evil hiding inside iron. Each and every thing 

created by man may turn against man himself when used without respect for the living. 

The lyrics composed in Estonian by August Annist were based on the ritual incantations 

of the Finnish epic Kalevala, whereas current Estonian poets Paul-Eerik Rummo and 

Jean Kaplinski added elements from modern reality.” 

Ohoi sinda, rauda raiska, Ohoi cursed, evil iron! 

rauda raiska, rähkä kurja, Ohoi evil, cursed iron! 

liha sööja, luu pureja, Flesh consuming, bone devouring, 

vere süütuma valaja! spilling blood, devouring virtue! 

Kust said kurja, kange’eksi, Whither comes your cruel cunning, 

üleliia ülbe’eksi? haughtiness so overbearing? 

Hurjuh sinda, rauda raiska! Fie upon you, evil iron! 

Tean ma sündi su sõgeda, Your beginnings reek of malice. 

arvan algust su õela! You have risen from villainy. 

Käisid kolme ilmaneitsit, From above the earth appeared 

taeva tütarta tulista, fiery maidens in the heavens, 

lüpsid maale rindasida, heavily with milk aladen, 

soo peale piimasida. spilling milk upon the marshes. 

Üks see lüpsis musta piima, Black, the liquid from one maiden, 

sest sai rauda pehme’eda, turning into ductile iron. 

teine valgeta valasi, White milk flowing from the other, 

sellest tehtud on teraksed, tempered steel from this arising. 

kolmas see veripunasta, From the third a crimson liquid, 

sellest malmi ilma tulnud. cursed, rusty ore created. 

Ohoi sinda, rauda raiska, Ohoi cursed, evil iron! 

rauda raiska, rähkä kurja! Ohoi evil, cursed iron! 

Ei sa siis veel suuri olnud, Then you were not high and mighty, 

ei veel suuri, ei veel uhke, not so mighty, not so haughty, 

kui sind soossa solguteldi, when you slumbered in the swampland 

vedelassa väntsuteldi. when you suffered in the marshes. 


Tean ma sündi su sõgeda, Your beginnings reek of malice. 

arvan algust su õela! You have risen from villainy. 

Susi jooksis sooda mööda, Then a wolf came running hither, 

karu kõmberdas rabassa, bear arambling over yonder. 

soo tõusis soe jalusta, Footprints stirring over swampland, 

raba karu käpa alta. traces from the swamp arising 

Kasvid raudased orased, giving rise to iron seedlings, 

soe jalgade jälile, in the shadows of the wolf prints 

karu käppade kohale. in the traces of the bear tracks. 

Ohoi rauda, laukalapsi. Ohoi wretched child of bogland, 

rabarooste, pehme piima! born of rust and milk of maidens! 

Kes su küll vihale käskis, Tell me who made you so angry! 

kes pani pahale tööle? Who set you to evil doings? 

Surma sõitis sooda mööda. Death came riding through the marshes, 

taudi talveteeda mööda, plague along the wintry byways, 

leidis soost terakse taime, till they found the iron seedlings 

raua rooste lauka’alta. resting in the lowly swampland, 

2012 Program Program Notes, Book Notes 2 A29 A1

A30 A2 Program 2012 Program Notes, Book 2 

Notes 


leidis soost terakse taime, finding seedling steel in swampland 

raua rooste lauka’alta. rusty iron in a boghole. 

Nii kõneles suuri surma, Then great death began to utter, 

taudi tappaja tähendas: killer plague began intoning, 

mäe alla männikussa, in a pinegrove on a hillside, 

põllulla küla päralla, in a field behind the village, 

talu aitade tagana: far beyond the farmer’s granges. 

siin saab surma sepipada, Here will be the fateful forging! 

siia ahju ma asetan, Here a furnace I will fashion, 

siia tõstan lõõtsad laiad, mighty fanning bellows anchor! 

hakkan rauda keetamaie. Here I’ll set the iron boiling! 

raua roostet lõõtsumaie, Blast the rusty ore to flaming! 

rauda tampima tigedaks. Pound the iron full of fury! 

Rauda, vaene mees, värises, Iron quaked and iron quivered, 

jo värises, jo võbises. quaked and quivered, tossed and trembled, 

kuulis kui tule nimeda, when he heard the call for fire, 

tule kurja kutsumista. heard the iron’s angry summons. 

Ohoi sinda, rauda raiska! Ohoi cursed evil iron! 

Ei sa siis veel suuri olnud, Then you were not high and mighty, 

ei veel suuri, ei veel uhke, not so mighty, not so haughty! 

kui sa ääsilla ägasid. Moaning in the blazing furnace, 

vingusid vasara alla. whining under beating anvils. 

Taat see ahjuita ärises, Droned the old man on the oven, 

halliparda vommi päälta: groaned the greybeard from the furnace: 

Rauda rasvana venikse, “Iron stretches out like tallow, 

ila kombel valgunekse, dripping down like oozing spittle, 

veerdes alla ääsilta, flowing from the blazing furnace, 

voolates valululesta. seeping from the scalding fire. 

Veel sa rauda pehmekene, Yet the iron, soft and gentle, 

miska sind karastatakse, must be toughened, must be tempered, 

terakseksi tehtanekse? turned into steel defiant. 

Toodi ussilta ilada, Get the spittle from a serpent! 

musta maolta mürgikesta. Bring the venom from a viper! 

Ei see raud kuri olekski Iron would not harbor evil, 

ilma usside ilata, if it had no serpent spittle 

mao musta mürkideta. had no murky viper venom.” 

Taat see ahjuita ärises, Droned the old men on the oven, 

halliparda vommi päälta: groaned the greybeard from the furnace: 

Varja nüüd vägeva Looja, “Shelter us, Supreme Creator! 

kaitse kaunike Jumala, Grant us safety, God Almighty, 

et ei kaoks see mees koguni, Changing eras, modern deities. 

hoopistükkis ema lapsi, Cannons, airplanes, tanks, armed warfare. 

Looja loodusta elusta. Cannons, tanks, airplanes. 

Jumala alustatusta. so that mankind will not perish, 

Uued ajad. Uued jumalad. future children be protected 

Kahurid, lennukid, New steel and iron, 

tankid, kuulipildujad. transformed into precise 

Uus raud ja teras, evil, powerful killers 

uhiuued, targad, armed with automated guiding devices, 

täpsed, vägevad tapjad, armed with nuclear warheads 

aulomaatsete sihtimisseadmetega useless against all defenses. 

tuumalaengut kandvad, from destruction, from extinction, 

tõrjerelvadele kättesaamaiud raketid. ever part of God’s creation.” 

Noad, odad, Knives spears, axes, 

kirved, taprid, saablid, halberds, sabers,


lingud, tomahawkid, bumerangid. slings, tomahawks, boomerangs, 

ammud, nooled, kivid, kaikad, bows and arrows, rocks and clubs, 

küüned, hambad, luv ja sool, claws and teeth, sand and salt, 

tuhk ja tõrv, napalm ja süsi. dust and tar, napalm and coal. 

Uus ja kõige kaasaegsem tehnika Innovations, far-reaching, technical, 

elektroonika viimne sõna, electronic, ultimate... 

valmis liikuma igasse punkti. Ready to fly in any direction, 

kõrvalekaldumatult sihti tabama, stay undeflected, striking target forcefully. 

peatama, rivist välja lööma, Annihilate, knocking out of action, 

hävitama, obliterate, render hopelessly impotent, 

võitlusvõimetuks tegema, render hopelessly impotent, 

haavama, leadmata kaotama. Killing, killing, with steel and iron! 

tapma, tapma raua, terase, Killing, steel and iron, chromium, 

kroomi, titaani, uraani, plutooniumi, titanium, uranium, plutonium, and 

ja paljude teiste elementidega. multitudes of elements. 

Ohoi sinda, rauda kurja. Ohoi cursed, evil iron! 

mõõka sõja sünnitaja, Sword, begetter of all warfare! 

rauda rähka, kulda kilpi, Golden guardian of the swamp ore, 

sina leras, nurja tõugu! steel that’s kith and kin to evil. 


Oleme ühesta soosta, You and I are from the same seed, 

ühest seemnest me siginud, from the same earth we have sprouted. 

sina maasta, mina maasta, From the same good soil we hearken, 

musta muida me mõlemad. you and I, we share this planet, 

Ühe maa pääl me elame, bound to share the earth together, 

ühe maa sees kokku saame, earth that will us all recover, 

maad meil küllalt sus mõlemal. earth enough for all, forever. 

carMINa buraNa, caNTIoNES proFaNaE 

(1935-1936; arranged 1956) 

Carl Orff (1895-1982) 

Arranged by Wilhelm Killmayer (born in 1927) 

About thirty miles south of Munich, in the foothills of the Bavarian 

Alps, is the abbey of Benediktbeuren. In 1803, a 13th-century codex 

was discovered among its holdings that contains some 200 secular 

poems that give a vivid, earthy portrait of Medieval life. Many 

of these poems, attacking the defects of the Church, satirizing contemporary manners 

and morals, criticizing the omnipotence of money, and praising the sensual joys of food, 

drink and physical love, were written by an amorphous band known as “Goliards.” These 

wandering scholars and ecclesiastics, who were often esteemed teachers and recipients 

of courtly patronage, filled their worldly verses with images of self-indulgence that were 

probably as much literary convention as biographical fact. The language they used was a 

heady mixture of Latin, old German and old French. Some paleographic musical notation 

appended to a few of the poems indicates that they were sung, but it is today so obscure as 

to be indecipherable. This manuscript was published in 1847 by Johann Andreas Schmeller 

under the title, Carmina Burana (“Songs of Beuren”), “carmina” being the plural of the Latin 

word for song, “carmen.” 

Carl orff encountered these lusty lyrics for the first time in the 1930s, and he was immediately 

struck by their theatrical potential. Like Aaron Copland and Virgil Thomson in the United 

States, orff at that time was searching for a simpler, more direct musical expression that 

could immediately affect listeners. orff’s view, however, was more Teutonically philosophical 

than that of the Americans, who were seeking a music for the common man, one related to 

2012 Program Program Notes, Book Notes 2 A31 A3



the everyday world. orff sought to create a musical idiom that would serve as a means of 

drawing listeners away from their daily experiences and closer to the realization of oneness 

with the universe. In the words of the composer’s biographer Andreas Liess, “orff’s spiritual 

form is molded by the superimposition of a high intellect on a primitive creative instinct,” 

thus establishing a tension between the rational (intellect) and the irrational (instinct). The 

artistic presentation of the deep-seated psychological self to the thinking person allows 

an exploration of the regions of being that have been overlaid by accumulated layers of 

civilization. 

orff chose 24 poems from the Carmina Burana to include in his work. Since the 13thcentury 

music for them was unknown, all of their settings are original with him. The work is 

disposed in three large sections with prologue and epilogue. The three principal divisions 

— Primo Vere (“Springtime”), In Taberna (“In the Tavern”) and Cour d’Amours (“Court 

of Love”) — sing the libidinous songs of youth, joy and love. However, the prologue and 

epilogue (using the same verses and music) that frame these pleasurable accounts warn 

against unbridled enjoyment. “The wheel of fortune turns; dishonored I fall from grace 

and another is raised on high,” caution the words of Fortuna Imperatrix Mundi (“Fortune, 

Empress of the World”), the chorus that stands like pillars of eternal verity at the entrance 

and exit of this Medieval world. They are the ancient poet’s reminder that mortality is the 

human lot, that the turning of the same Wheel of Fortune that brings sensual pleasure may 

also grind that joy to dust. It is this bald juxtaposition of antitheses — the most fundamental 

human pleasures with the sternest of cosmic admonitions — coupled with orff’s elemental 

musical idiom that gives Carmina Burana its dynamic theatricality. 

The work opens with the chorus Fortuna Imperatrix Mundi, depicting the terrible 

revolution of the Wheel of Fate through a powerful repeated rhythmic figure that grows 

inexorably to a stunning climax. After a brief morality tale (Fortune plango vulnera — “I 

lament the wounds that fortune deals”), the Springtime section begins. Its songs and dances 

are filled with the sylvan brightness and optimistic expectancy appropriate to the annual 

rebirth of the earth and the spirit. The next section, In Taberna (“In the Tavern”), is given 

over wholly to the men’s voices. Along with a hearty drinking song are heard two satirical 

stories: Olim lacus colueram (“Once in lakes I made my home”) — one of the most fiendishly 

difficult pieces in the tenor repertory — and Ego sum abbas Cucaniensis (“I am the abbot 

of Cucany”). The third division, Cour d’Amours (“Court of Love”), leaves far behind the 

rowdy revels of the tavern to enter a refined, seductive world of sensual pleasure. The music 

is limpid, gentle and enticing, and marks the first appearance of the soprano soloist. The 

lovers’ urgent entreaties grow in ardor, with insistent encouragement from the chorus, until 

submission is won in the most rapturous moment in the score, Dulcissime (“Sweetest Boy”). 

The grand paean to the loving couple (Blanzifor et Helena) is cut short by the intervention of 

imperious fate, as the opening chorus (Fortuna), like the turning of the great wheel, comes 

around once again to close this mighty work. 

Carmina Burana in its original scoring calls for a massive orchestra, so in 1956, to make 

the work accessible to more modest performing situations, orff’s student Wilhelm Killmayer 

arranged its instrumental parts for two pianos, timpani and percussion with the composer’s 

approval. Killmayer was born in Munich in 1927 and attended the city’s university before 

studying composition with orff from 1951 to 1954. He has led a successful career as a 

composer, scholar, conductor and teacher, winning awards for his many stage, orchestral, 

chamber and vocal works from the Fromm Music Foundation, Schleswig-Holstein Music 

Festival, City of Munich and Kaske Foundation, as well as being accepted for membership 

in the Bavarian Academy of Fine Arts and the Berlin Academy of Arts. 

©2012 Dr. Richard E. Rodda


FoRTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 

1. o fortuna 

Chorus 

o fortuna, o fortune! 

velut luna Like the moon 

statu variabilis, ever-changing, 

semper crescis rising first 

aut decrescis; then declining; 

vita detestabilis hateful life 

nunc obdurat treats us badly 

et tunc curat then with kindness, 

ludo mentis aciem, making sport with our desires, 

egestatem, causing power 

potestatem and poverty alike 

dissolvit ut glaciem. to melt like ice. 

Sors immanis Dread destiny 

et inanis, and empty fate, 

rota tu volubilis, an ever turning wheel, 

status malus, who make adversity 

vana salus and fickle health 

semper dissolubilis, alike turn to nothing, 

obumbrata in the dark 

et velata and secretly 

michi quoque niteris; you work against me; 

nunc per ludum how through your trickery 

dorsum nudum my naked back 

fero tui sceleris. is turned to you unarmed. 

Sors salutis Good fortune 

et virtutis and strength 

michi nunc contraria, now are turned from me, 

est affectus Affection 

et defectus and defeat 

semper in angaria. are always on duty. 

Hac in hora Come now, 

sine mora pluck the strings 

corde pulsum tangite; without delay; 

quod per sortem and since by fate 

sternit fortem, the strong are overthrown, 

mecum omnes plangite! weep ye all with me. 

2. Fortune plango vulnera 

Chorus 

Fortune plango vulnera I lament the wounds that fortune deals 

stillantibus ocellis, with tear-filled eyes, 

quod sua michi munera for returning to the attack 

subtrahit rebellis. she takes her gifts from me. 

Verum est, quod legitur It is true 

fronte capillata, as they say, 

sed plerumque sequitur the well-thatched pate 

occasio calvata. may soonest lose its hair. 

In fortune solio once on fortune’s throne 

sederam elatus, I sat exalted, 

prosperitatis vario crowned with a wreath 

flore coronatus; of prosperity’s flowers. 

quicquid enim florui But from my happy, 

felix et beatus, flower-decked paradise 




nunc a summo corrui I was struck down 

gloria privatus. and stripped of all my glory. 

Fortune rota volvitur: The wheel of fortune turns; 

descendo minoratus; dishonored I fall from grace 

alter in altum tollitur; and another is raised on high. 

nimis exaltatus Raised to over-dizzy heights of power 

rex sedet in vertice — the king sits in majesty — 

caveat ruinam! but let him beware of his downfall! 

Nam sub axe legimus For ’neath the axle of fortune’s wheel 

Hecubam reginam. behold Queen Hecuba. 

I. PRIMo VERE (Springtime) 

3. Veris leta facies 

Small Chorus 

Veris leta facies The joyous face of spring 

mundo propinatur, is presented to the world; 

hiemalis acies winter’s army 

victa iam fugatur, is conquered and put to flight. 

in vestitu vario In colorful dress 

Flora principatur, Flora is arrayed, 

nemorum dulcisono and the woods are sweet 

que canto celebratur. with birdsong in her praise. 

Flore fusus gremio Reclining in Flora’s lap 

Phebus novo more Phoebus again 

risum dat, hoc vario laughs merrily, 

iam stipatur flore. covered with many-colored flowers. 

Zephyrus nectareo Zephyr breathes around 

spirans in odore; the scented fragrance; 

certatim pro bravio eagerly striving for the prize, 

curramus in amore. let us compete in love. 

Cytharizat cantico Trilling her song 

dulcis Philomena, sweet Philomel is heard, 

flore rident vario and smiling with flowers 

prata iam serena; the peaceful meadows lie; 

salit cetus avium a flock of wild birds 

silve per amena, rises from the woods; 

chorus promit virginum the chorus of maidens 

iam gaudia millena. brings a thousand joys. 

4. omnia sol temperat 

Baritone 

omnia sol temperat All things are tempered by the sun 

purus et subtilis, so pure and fine. 

novo mundo reserat In a new world are revealed 

faciem Aprilis; the beauties of April; 

ad amorem properat to thoughts of love 

animus herilis, the mind of man is turned, 

et iocundis imperat and in pleasure’s haunts 

deus puerilis. the youthful God holds sway. 

Rerum tanta novitas Nature’s great renewal 

in solemni vere in solemn spring 

et veris auctoritas and spring’s example 

iubet nos gaudere; bid us rejoice; 

vias prebet solitas, they charge us keep to well-worn paths, 

et in tuo vere and in your springtime 

fides est et probitas there is virtue and honesty 

tuum retinere. in being constant to your lover.


Ama me fideliter! Love me truly! 

Fidem meam nota: Remember my constancy. 

de corde totaliter With all my heart 

et ex mente tota and all my mind 

sum presentialiter I am with you 

absens in remota. even when far away. 

Quisquis amat taliter, Whoever knows such love 

volvitur in rota. knows the torture of the wheel. 

5. Ecce gratum 

Chorus 

Ecce gratum Behold the welcome, 

et optatum long-awaited spring, 

ver reducit gaudia, which brings back pleasure 

purpuratum and with crimson flowers 

floret pratum, adorns the fields. 

sol serenat omnia. The sun brings peace to all around. 

Iamiam cedant tristia! Away with sadness! 

Estas redit, Summer returns, 

nunc recedit and now departs 

Hyemis sevitia. cruel winter. 

Iam liquescit Melt away 

et decrescit and disappear 

grando, nix et cetera; hail, ice and snow; 

bruma fugit, the mists flee, 

et iam sugit and spring is fed 

ver estatis ubera; at summer’s breast. 

illi mens est misera, Wretched is the man 

qui nec vivit, who neither lives 

nec lascivit, nor lusts 

sub estatis dextera. under summer’s spell. 

Gloriantur They taste delight 

et letantur and honeyed sweetness 

in melle dulcedinis, who strive for 

qui conantur, and gain 

ut untantur Cupid’s reward. 

premio Cupidinis; Let us submit 

simus jussu Cypridis to Venus’ rule, 

gloriantes and joyful 

et letantes and proud 

pares esse Paridis. be equal to Paris. 

UF DEM ANGER (on the Green) 

6. Tanz (Dance) 

orchestra 

7. Floret silva 

Chorus and Small Chorus 

Floret silva nobilis The noble forest 

floribus et foliis. Is decked with flowers and leaves. 

Ubi est antiquus Where is my old, 

meus amicus? my long-lost lover? 

Hinc equitavit, He rode away on his horse. 

eia, quis me amabit? Alas, who will love me now? 

Floret silva undique, The forest all around is in flower, 

nach mime gesellen ist mir we. I long for my lover. 

Gruonet der walt allenthalben, The forest all around is in flower, 

was ist min geselle alse lange? whence is my lover gone? 

Der ist geriten hinnen, He rode away on his horse. 

owi, wer sol mich minnen? Alas, who will love me now? 




8. Chramer, gip die varwe mir 

Children’s Chorus and Chorus 

Chramer, gip die varwe mir, Salesman, give me colored paint 

die min wengel roete, to paint my cheeks so crimson red, 

damit ich die jungen man that I may make these bold young men, 

an ir dank der minnenliebe noete. whether they will or not, love me. 

Seht mich an, Look at me, 

jungen man! young men all! 

Lat mich iu gevallen! Am I not well pleasing? 

Minnet, tugentliche man, Love, all you right-thinking men, 

minnecliche frouwen! women worthy to be loved! 

Minne tuot iu hoch gemuot Love shall raise your spirits high 

unde lat iuch in hohlen eren schouwen. and put a spring into your step. 

Seht mich an, etc. Look at me, etc. 

Wol dir, werit, das du bist Hail to thee, o world that art 

also freudenriche! in joy so rich and plenteous! 

Ich wil dir sin undertan I will ever be in thy debt 

durch din liebe immer sicherliche. surely for thy goodness’ sake! 

Seht mich an, etc. Look at me, etc. 

9. Reie (Round Dance) 

Swaz hie gat umbe 

Chorus 

Swaz hie gat umbe, They who here go dancing round 

daz sint allez megede, are young maidens all 

die wellent an man who will go without a man 

alle disen sumer gan. this whole summer long. 

Chume, chum, geselle min 

Small Chorus 

Chume, chum, geselle min, Come, come, dear heart of mine, 

ih enbite harte din. I so long have waited for thee. 

Suzer rosenvarwer munt, Sweetest rosy colored mouth, 

chum un mache mich gesunt. come and make me well again. 

Swaz hie gat umbe 

Chorus 

Swaz hie gat umbe, etc. They who here go dancing round, etc. 

10. Were diu werlt alle min 

Chorus 

Were diu werlt alle min If the whole world were but mine 

von deme mere unze an den Rin, from the sea right to the Rhine, 

des wolt ih mih darben, gladly I’d pass it by 

daz diu chünegin von Engellant if the Queen of England fair 

lege an minen armen. in my arms did lie. 

II. IN TABERNA (In the Tavern) 

11. Estuans interius 

Baritone 

Estuans interius Seething inside 

ira vehementi with boiling rage, 

in amaritudine in bitterness 

loquor mee menti: I talk to myself. 

factus de materia, Made of matter, 

cinis elementi, risen from dust, 

similis sum folio, I am like a leaf 

de quo ludunt venti. tossed in play by the winds.


Cum sit enim proprium But whereas it befits 

viro sapienti a wise man 

supra petram ponere to build his house 

sedem fundamenti, on a rock, 

stultus ego comparor I, poor fool, 

fluvio labenti, am like a meandering river, 

sub eodem tramite never keeping 

nunquam permanenti. to the same path. 

Feror ego veluti I drift along 

sine nauta navis, like a pilotless ship 

ut per vias aeris or like an aimless bird, 

vaga fertur avis; carried at random through the air. 

non me tenent vincula, No chains hold me captive, 

non me tenet clavis, no lock holds me fast; 

quero mihi similes, I am looking for those like me, 

et adiungor pravis. and I joined the depraved. 

Mihi cordis gravitas The burdens of the heart 

res videtur gravis; seem to weigh me down; 

iocus est amabilis jesting is pleasant 

dulciorque favis; and sweeter than the honeycomb. 

quicquid Venus imperat, Whatever Venus commands 

labor est suavis, is pleasant toil; 

que nunquam in cordibus she never dwells 

habitat ignavis. in craven hearts. 

Via lata gradior on the broad path I wend my way 

more iuventutis, as is youth’s wont, 

inplicor et vitiis, I am caught up in vice 

immemor virtutis, and forgetful of virtue, 

voluptatis avidus caring more for voluptuous pleasure 

magis quam salutis, than for my health; 

mortuus in anima dead in spirit, 

curam gero cutis. I think only of my skin. 

12. olim lacus colueram 

Tenor and Male Chorus 

olim lacus colueram, once in lakes I made my home, 

olim pulcher extiteram — once I dwelt in beauty — 

dum cignus ego fueram. that was when I was a swan. 

Miser, miser! Alas, poor me! 

Modo niger Now I am black 

et ustus fortiter! and roasted to a turn! 

Girat, regirat garcifer; on the spit I turn and turn, 

me rogus urit fortiter: the fire roasts me through; 

propinat me nunc dapifer. now I am presented at the feast. 

Miser, miser! etc. Alas, poor me! etc. 

Nunc in scutella iaceo, Now in a serving dish I lie 

et volitare nequeo, and can no longer fly; 

dentes frendentes video. gnashing teeth confront me. 

Miser, miser! etc. Alas, poor me! etc. 

13. Ego sum abbas 

Baritone and Male Chorus 

Ego sum abbas Cucaniensis, I am the abbot of Cucany, 

et consilium meum est cum bibulis, and I like to drink with my friends. 

et in secta Decii voluntas mea est, I belong from choice to the sect of Decius, 

et qui mane me quesierit in taberna, and whoever meets me in the morning 

at the tavern 

post vesperam nudus egredietur, by evening has lost his clothes, 

et sic denudatus veste clamabit: and thus stripped of his clothes cries out: 




Wafna, wafna! Wafna, wafna! 

Quid fecisti sors turpissima? What hast thou done, oh, wicked fate? 

Nostre vite gaudia All the pleasures of this life 

abstulisti omnia! thus to take away! 

Wafna, wafna! Wafna, wafna! 

Ha, ha! Ha, ha! 

14. In taberna quando sumus 

Male Chorus 

In taberna quando sumus, When we are in the tavern 

non curamus quid sit humus, we spare no thought for the grave, 

sed ad ludum properamus, but rush to the gaming tables 

cui semper insudamus. where we always sweat and strain. 

Quid agatur in taberna, What goes on in the tavern, 

ubi nummus est pincerna, where a coin gets you a drink — 

hoc est opus ut queratur, if this is what you would know, 

si quid loquar, audiatur. then listen to what I say. 

Quidam ludunt, quidam bibunt, Some men gamble, some men drink, 

quidam indiscrete vivunt. some indulge in indiscretions. 

Sed in ludo qui morantur, But of those who stay to gamble, 

ex his quidam denudantur, some lose their clothes, 

quidam ibi vestiuntur, some win new clothes, 

quidam saccis induuntur. while others put on sack cloth. 

Ibi nullus timet mortem, There no one is afraid of death, 

sed pro Bacho mittunt sortem. but for Bacchus plays at games of chance. 

Primo pro nummata vini; First the dice are thrown for wine; 

ex hac bibunt libertini, this the libertines drink. 

semel bibunt pro captivis, once they drink to prisoners, 

post hec bibunt ter pro vivis, then three times to the living, 

quater pro Christianis cunctis, four times to all Christians, 

quinquies pro fidelibus defunctis, five to the faithful departed, 

sexies pro sororibus vanis, six times to the dissolute sisters, 

septies pro militibus silvanis. seven to the bush-rangers. 

octies pro fratribus perversis, Eight times to the delinquent brothers, 

nonies pro monachis dispersis, nine to the dispersed monks, 

decies pro navigantibus, ten times to the navigators, 

undecies pro discordantibus, eleven to those at war, 

duodecies pro penitentibus, twelve to the penitent, 

tredecies pro iter angentibus. thirteen to travelers. 

Tam pro papa quam pro rege They drink to the Pope and king alike, 

bibunt omnes sine lege. all drink without restraint. 

Bibit hera, bibit herus, The mistress drinks, the master drinks, 

bibit miles, bibit clerus, the soldier drinks, the man of God, 

bibit ille, bibit illa, this man drinks, this woman drinks, 

bibit servus cum ancilla, the manservant with the serving maid, 

bibit velox, bibit piger, the quick man drinks, the sluggard drinks, 

bibit albus, bibit niger, the white man and the black man drink, 

bibit constans, bibit vagus, the steady man drinks, the wanderer drinks, 

bibit rudus, bibit magus. the simpleton drinks, the wise man drinks. 

Bibit pauper et egrotus, The poor man drinks, the sick man drinks, 

bibit exul et ignotus, the exile drinks and the unknown, 

bibit puer, bibit canus, the boy drinks, the old man drinks, 

bibit presul et decanus, the bishop drinks and the deacon, 

bibit soror, bibit frater, sister drinks and brother drinks, 

bibit anus, bibit mater; the old crone drinks, the mother drinks, 

bibit ista, bibit ille, this one drinks, that one drinks, 

bibunt centum, bibunt mille. a hundred drink, a thousand drink.


Parum sexcente nummate Six hundred coins are not enough 

durant, cum immoderate when all these drink too much, 

bibunt omnes sine meta. and without restraint. 

Quamvis bibant mente leta, Although they drink cheerfully, 

sic nos rodunt omnes gentes, many people censure us, 

et sic erimus egentes. and we shall always be short of money. 

Qui nos rodunt confundantur May our cries be confounded 

et cum iustis non scribantur. and never be numbered among the just. 

III. CoUR D’AMoURS (Court of Love) 

15. Amor volat undique 

Children’s Chorus and Soprano 

Amor volat undique, Love flies everywhere 

captus est libidine. and is seized by desire. 

Iuvenes, iuvencule Young men and women 

coniunguntur merito. are matched together. 

Siqua sine socio, If a girl lacks a partner, 

caret omni gaudio; she misses all the fun; 

tenet noctis infirma in the depths 

sub intimo of her heart 

cordis in custodia: is darkest night: 

fit res amarissima. it is a bitter fate. 

16. Dies, nox et omnia 

Baritone 

Dies, nox et omnia Day, night and all the world 

mihi sunt contraria, are against me, 

virginum, colloquia the sound of maidens’ voices 

me fay planszer, makes me weep. 

oy suvenz suspirer, I often hear sighing, 

plu me fay temer. and it makes me more afraid. 

o sodales, ludite, o friends, be merry, 

vos qui scitis dicite, say what you will, 

michi mesto parcite, but have mercy on me, a sad man, 

grand ey dolur, for great is my sorrow, 

attamen consulite yet give me counsel 

per voster honur. for the sake of your honor. 

Tua pulchra facies, Your lovely face 

me fey planszer milies, makes me weep a thousand tears 

pectus habet glacies, because your heart is of ice, 

a remender but I would be restored 

statim vivus fierem at once to life 

per un baser. by one single kiss. 

17. Stetit puella 

Soprano 

Stetit puella There stood a young girl 

rufa tunica; in a red tunic; 

si quis eam tetigit, if anyone touched her, 

tunica crepuit. the tunic rustled. 

Eia, eia. Heigho, heigho. 

Stetit puella, There stood a girl 

tamquam rosula; fair as a rose; 

facie splenduit, her face was radiant, 

os eius floruit. her mouth like a flower. 

Eia, eia. Heigho, heigho. 



18. Circa mea pectora 

Baritone and Chorus 

Circa mea pectora My breast 

multa sunt suspiria is filled with sighing 

de tua pulchritudine, for your loveliness, 

que me ledunt misere. and I suffer grievously. 

Manda liet, Manda liet, 

manda liet, manda liet, 

min geselle my sweetheart 

chumet niet. comes not. 


Tui lucent oculi Your eyes shine 

sicut solis radii, like sunlight, 

sicut splendor fulguris like the splendor of lightning 

lucem donat tenebris. in the night. 

Manda liet, etc. Manda liet, etc. 

Vellut deus, vellent dii May God grant, may the gods permit 

quod mente proposui: the plan I have in mind: 

ut eius virginea to undo the bonds 

reserassem vincula. of her virginity. 

Manda liet, etc. Manda liet, etc. 

19. Si puer cum puellula 

Male Chorus and Baritone 

Si puer cum puellula If a boy and a girl 

moraretur in cellula, linger together, 

felix coniunctio. happy is their union. 

Amore sucrescente, Increasing love 

pariter e medio leaves tedious 

avulso procul tedio, good sense far behind, 

fit ludus ineffabilis and inexpressible pleasure fills 

membris, lacertis, labiis. their limbs, their arms, their lips. 

20. Veni, veni, venias 

Double Chorus 

Veni, veni, venias, Come, come, pray come, 

ne me mori facias, do not let me die, 

hyrca, hyrca, nazaza hyrca, hyrca, nazaza, 

trillirivos ... trillirivos ... 

Pulchra tibi facies, Lovely is your face, 

oculorum acies, the glance of your eyes, 

capillorum series, the braids of your hair, 

oh, quam clara species! oh, how beautiful you are! 

Rosa rubicundior, Redder than the rose, 

lilio candidior, whiter than the lily, 

omnibus formosior, comelier than all the rest; 

semper in te glorior! always I shall glory in you. 

21. In trutina 

Soprano 

In trutina mentis dubia In the scales 

fluctuant contraria of my wavering indecision 

lascivus amor et pudicitia. physical love and chastity are weighed. 

Sed eligo quod video, But I choose what I see, 

collum iugo prebeo: I bow my head in submission and take 

ad iugum tamen suave transeo. on the yoke which is after all sweet. 

22. Tempus est iocundum 

Soprano, Baritone and Children’s Chorus 

Tempus est iocundum, Pleasant is the season,


o virgines; o maidens; 

modo conguadete, now rejoice together, 

vos iuvenes. young men. 

oh, oh, oh, oh, oh, oh, 

totus floreo, I blossom, 

iam amore virginali now with pure love 

totus ardeo, I am on fire! 

novus, novus amor This love is new, new, 

est, quo pereo. of which I perish. 

Mea me confortat My love brings me comfort 

promissio, when she promises, 

mea me deportat but makes me distraught 

negatio. with her refusal. 

oh, oh, etc. oh, oh, etc. 

Tempore brumali In winter time 

vir patiens, the man is lazy, 

animo vernali in the spring he will turn 

lasciviens. amorous. 


Mea mecum ludit My chastity 

virginitas, teases me, 

mea me detrudit but my innocence 

simplicitas. holds me back! 


Veni, domicella, Come, my darling, 

cum gaudio, come with joy, 

veni, veni, pulchra, come, my beauty, 

iam, pereo. for already I die! 


23. Dulcissime 

Soprano 

Dulcissime, Sweetest boy, 

ah, totam tibi subdo me! ah, I give my all to you! 

BLANZIFLoR ET HELENA (Blanziflor and Helena) 

Ave formosissima, 

24. Ave formosissima 

Chorus 

Hail to thee, most lovely, 

gemma pretiosa, most precious jewel, 

ave decus virginum, hail pride of virgins, 

virgo gloriosa, most glorious virgin! 

ave mundi luminar, Hail, light of the world, 

ave mundi rosa, hail, rose of the world! 

Blanziflor et Helena, Blanziflor and Helena, 

Venus generosa. noble Venus, hail! 

FoRTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 

25. o fortuna 

Chorus 

o fortuna, o fortune! 

velut luna, etc. Like the moon, etc.

Golden Anniversary Choral Spectacular - The Grant Park Music ...

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