![]() ![]() A Proposal of Strategy in the Battle over Marriage.The Incarnation and the Possibility of Theology as Science: Toward a Post-Wittgenstein Appreciation.Why Religion Matters: An Approach in Light of Duns Scotus."ust as the eyes of owls are to the light of day, so is our soul's intellective power to those things which are by nature the most evident of all." Authors If it is this sort of experience that Orff had in mind and was trying to express through his musical adaptation of O Fortuna, then it seems that, really, this was on Orff’s side a stroke of genius. ![]() ![]() Musically, it may be that what is being expressed would be something like the mother who, while at a carnival, sees her only son die in her arms and experiences deep anguish before this, while the whole celebration continues on as if this tragedy had not taken place in its midst. For while the orchestral accompaniment ends on a D major chord, the chorus continues on an ends in the same key in which it began, d minor: What might be going on here is that while, then, is that the one who finds himself in anguish and despair continues on in this state, everything else goes on as if nothing was amiss, indifferent to the plight of the sufferer. Perhaps this effective key change really is fitting. Very recently, however, I began to wonder. Hac in hora sine mora corde pulsum tangite quod per sortem sternit fortem, mecum omnes plangite. But it has seemed to me to be pretty clearly the case that this key change is not in keeping with the letter or the spirit of the poem. Sors salutis et virtutis mihi nunc contraria, est affectus et defectus semper in angaria. In this hour, without delay, strike the pulsing strings because through fate the strong are stricken, all lament with me! (Translation mine, though I have consulted the translation found on that paragon of scholarly impeccability, Wikipedia.)]ĭespite this, and despite the fact that Carl Orff has the piece begin in d minor, the thing ends, effectively, in D major (which is not even the sister key of d minor, but anyway.) Now, this may be done in order to ensure that the work as a whole the whole of Orff’s Carmina Burana, is coherent: although I don’t remember, it may be the case that the first “movement” begins in D major. passion and weakness always constraining. The poem itself – last in the collection of poems called Carmina Burana – decries and bemoans the cruelty of the apparent reality of fate, recognizing at the same time the futility of any protest the author ends by begging everyone to lament with him in face of his despair the ineluctable grinding of the wheels of fate: I don’t know about my readers, but I’ve found the ending of Carl Orff’s musical setting for O Fortuna to be exasperating. ![]()
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