Oregon Symphony


Concert Information

Carmina Burana

Saturday, February 7 at 7:30 p.m.
Sunday, February 8 at 7:30 p.m.
Monday, February 9 at 8 p.m.

Arlene Schnitzer Concert Hall

Carlos Kalmar, conductor
Portland Symphonic Choir 
Pacific Youth Choir 
Laura Claycomb, soprano
Marc Molomot, tenor
Timothy Mix, baritone   

Richard Strauss


Carl Orff
Carmina burana text and translations
  • Fortuna imperatrix mundi
    [Fortune, Empress of the World]
  • Primo vere [In Springtime]
  • Uf dem Anger [On the Green]
  • In taberna [In the Tavern]
  • Cour d'amours [The Court of Love]
  • Blanziflor et Helena [Blanziflor and Helena]
  • Fortuna imperatrix mundi
  • Laura Claycomb
  • Marc Molomot
  • Timothy Mix
  • Portland Symphonic Choir
  • Pacific Youth Choir

THE CONCERT CONVERSATION, conducted one hour before each performance, will be presented by Music Director Carlos Kalmar and Robert McBride, host for the stations of All Classical FM. You can also enjoy the Concert Conversation in the comfort of your own home. Visit the web site allclassical.org to watch the video on demand.

Richard Strauss
Metamorphosen, a study for 23 solo strings

“This is a program about contrast,” says Music Director Carlos Kalmar. “Since Carmina is so earthy and carnal, I like to go in another direction in the preceding half [of the concert].” One could hardly find a more contrasting work to Carl Orff’s celebration of lust and drink than Richard Strauss’ moving elegy Metamorphosen, which he completed in the closing weeks of World War II.


Composer: born June 11, 1864, Munich; died September 8, 1949, Garmisch-Partenkirchen

Work composed: 1943-45. Dedicated to conductor Paul Sacher.

World premiere: Paul Sacher led the Zurich Collegium Musicum in first performance on January 25, 1946, in Zurich.

Most recent Oregon Symphony performance

Instrumentation: 23 solo strings

Estimated duration: 26 minutes

On October 3, 1943, an Allied air raid destroyed the Munich Opera House. Upon hearing of the news, Richard Strauss began sketching the music that became his Metamorphosen for 23 Solo Strings. By the time Strauss completed the score, two years later, much of Germany lay in ruins, including the Berlin and Dresden opera houses, where so many of Strauss’ operas had premiered. Strauss wrote of the destruction in his diary: “2000 years of cultural evolution had met its doom, and irreplaceable monuments of architecture and works of art were destroyed by a criminal soldiery.”

The title of this work is enigmatic. Musically, Strauss does not transform any of the themes; they do not develop or metamorphose into something new. In fact, Strauss – albeit unconsciously – reached back 150 years for the primary theme, which is heard over and over throughout Metamorphosen. This fragment is borrowed directly from the funeral march in Beethoven’s Eroica Symphony, although Strauss maintained it was not a deliberate reference – “it escaped from my pen,” he explained. In the final restatement of the theme, by the basses, Strauss wrote the words “in memoriam” in the score under the notes.

The choice of title likely refers to Goethe, who titled his last two poems Die Metamorphose der Pflanzen and Die Metamorphose der Tiere (The Metamorphosis of Plants and Animals, respectively). Goethe’s concept of metamorphosis harkens back to the ancient Greeks, who believed it a means for experiencing the knowledge of God. This music does not suggest that association; it is clearly a work of mourning for the destruction of German culture. Strauss told his biographer Willi Schuh, “The burning of the Munich Hoftheater, the place consecrated to the first Tristan and Meistersinger performances, in which 73 years ago I heard Freischütz for the first time, where my good father sat for 49 years as first horn in the orchestra – where at the end of my life I experienced the keenest sense of fulfillment of the dreams of authorship in ten Strauss productions – this was the greatest catastrophe which has ever been brought into my life, for which there can be no consolation and, in my old age, no hope.”

Carl Orff
Carmina Burana


Composer: born July 10, 1895, Munich; died March 29, 1982, Munich

Work composed: 1936

World premiere: Frankfurt, June 8, 1937

Most recent Oregon Symphony performance

Instrumentation: soprano, tenor and bass soloists, SATB choir, children’s choir, 3 flutes (2 doubling piccolo), 3 oboes (one doubling English horn), 3 clarinets (one doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, antique cymbals, bass drum, chimes, castanets, cymbals, glockenspiel, ratchet, snare drum, sleigh bells, tam tam, tambourine, triangle, celesta, 2 pianos and strings.

Estimated duration: 60 minutes

If there is such a thing as the one-hit-wonder category in classical music, Carmina Burana certainly qualifies. Its composer, Carl Orff, wrote a number of other works, both before and after Carmina Burana, and he is also known for his Schulwerke (School works), a collection of music for children, and its accompanying pedagogical method of music education. However, nothing else Orff accomplished in his 87 years comes close to rivaling the fame and staying power of Carmina Burana.

In 1934 Orff first came across a collection of 13th-century poems compiled at the Benedictine monastery in Benediktbeueren, located in Bavaria, near Munich. Carmina Burana (Songs of Beuren) is an eclectic collection of over 200 poems and songs. Their themes range from religious ecstasy to secular love, lust, drunken debauchery and bawdy humor. Most of the poems are in Church Latin, although some feature a medieval Bavarian German dialect, and a few poems are in French. Several poems mix the languages together.

In setting these texts, Orff rejected the prevailing styles of German music that dominated the first third of the 20th century. Gone are the sophisticated harmonies, 12-tone rows, esoteric theoretical underpinnings and profound philosophical subtexts. Instead, Orff wrote strophic songs (melodies which do not develop or change from verse to verse), using basic harmonies derived from major, minor and modal scales. He also emphasized dynamic rhythms and prominently featured percussion instruments. Most central of all, Orff chose texts that celebrate primal human experiences.

Carmina Burana was an immediate hit at its premiere, despite official Nazi disapproval (New Yorker critic Alex Ross noted that “Orff’s showpiece was far removed from Hitler’s favorite Wagner operas.”).

The 24 texts Orff selected are arranged in three large sections: 1. Primo vere (Spring) and Uf dem Anger (On the Green); 2. In taberna (In the Tavern); and 3. Cour d’Amours (Court of Love). The first section is preceded by Fortuna Imperatrix Mundi (Fortune, Empress of the World), the best-known section of Carmina Burana. The concept of the implacable goddess of Fortune spinning her wheel to determine one’s fate is the central theme of Carmina Burana, a medieval trope on “Eat, drink, and be merry, for tomorrow we die.” The authors of these poems, whose focus on earthly pleasures borders on the obsessive, were motivated by belief in the capricious, often malevolent, power of Fortune’s wheel to destroy their lives.

Primo vere begins with a trilling figure in the piccolos, flutes, oboes and pianos, a musical birdcall signaling spring’s awakening. The first three songs focus on the rejuvenation of the earth. They also link the first stirrings of spring with feelings of love and passion, which are also emerging from winter’s long hibernation. The music is spare; in the first song, Veris leta facies, the chorus sings in unison octaves; the second, Omnia Sol temperat,features a baritone soloist and the barest wisps of accompaniment. Only when spring fully bursts forth, in Ecce gratum, do we hear vocal harmonies, accompanied by full orchestra. The subsection Uf dem Anger features a number of dances, both earthy (Tanz) and refined (Reie). The songs are full of flirtation and seductive promises.

In Taberna both celebrates and decries the effects of alcohol. Estuans interius is an operatic rant for baritone, who declares, “My soul is dead/So I look after the flesh.” Olim lacus colueram, sung by tenor and accompanied by a plaintive bassoon solo, is told from the viewpoint of a swan being roasted on a spit at a drunken feast. Ego sum abbas parodies Gregorian chant. It tells of the fictional abbot of Cockaigne, who loses both his money and his clothing at the gambling table. The men’s chorus echoes his despairing cry of “Wafna!” In taberna quando sumus venerates, in a series of toasts, all who partake of drink. The men’s voices are accompanied by alternating bursts of brass and percussion and prosaic oom-pahs.

The songs of Cour d’amours focuses on the two main facets of love in medieval times: courtly love, the yearning for a chaste and usually unattainable lady (as in Dies, nox et omnia), and the frankly erotic (Si puer cum puellula and Veni, veni, venias). The soprano soloist expresses both longing and virginal hesitancy (In trutina mentis dubia and Tempus est iocundum); she later conveys her ecstasy with an orgasmic aria (Dulcissime). This section ends with the chorus’ grand quasi-religious paean to “the most beautiful one.” With language usually reserved for prayers to the Virgin Mary, she is compared to Helen of Troy, Blanchefleur, the heroine of a 12th-century romance, and Venus herself. Before anyone is allowed to linger in love’s realm, however, Fortune’s ever-spinning wheel returns for a final and portentous comment on life’s ultimate unpredictability.

©2015 Elizabeth Schwartz

Program Notes by Elizabeth Schwartz

Elizabeth Schwartz is a Portland-based free-lance writer, researcher and musician. In addition annotating programs for the Oregon Symphony and other ensembles, she has also contributed to NPR’s Performance Today (now heard on American Public Media). Schwartz also co-hosts The Portland Yiddish Hour, heard at 10 a.m. Sundays on KBOO 90.7 FM. Email: schwartzelizabeth@yahoo.com.

Recommended Recordings by Michael Parsons

Richard  Strauss–Metamorphosen  for
23 Solo Strings
Herbert von Karajan–Berlin
Philharmonic Orchestra
Deutsche Grammophon Originals 447422
Rudolf Kempe–Staatskapelle Dresden
EMI Classics 45831

Orff–Carmina Burana
Vocal soloists–Gerhard Stolze, Dietrich Fischer-Dieskau, Gundula Janowitz Eugen Jochum–Berlin Deutsche Oper Orchestra & Chorus
Deutsche Grammophon 447437 
Vocal soloists–Thomas Allen, Sheila Armstrong, Gerald English
Andre Previn–London Symphony
Orchestra & Chorus
EMI Classics 6787042

These recordings are available for purchase during intermission in the lobby of the concert hall.

Carmina Burana texts and translations


1. O Fortuna O Fortuna
O Fortuna O Fortune
velut luna, variable as the moon,
statu variabilis, you are changeable.
semper crescis, Always waxing
aut decrescis; and waning.
vita detestabilis Destestable life
nunc obdurat first oppresses us,
et tunc curat then soothes us
ludo mentis aciem, you fulfill our desires.
egestatem, Poverty,
potestatem, power,
dissolvit ut glaciem. You melt both like ice.
Sors immanis Monstrous fate
et inanis, and empty,
rota tu volubilis, you, turning wheel,
status malus, are malevolent,
vana salus your favor is idle
semper dissolubilis, and always dissolves,
obumbrata shadowed
et velata and veiled
michi quoque niteris; you attack me too;
nunc per ludum for the sport
dorsum nudum of your wickedness
fero tui sceleris. I bare my back.
Sors salutis Whether in prosperity
et virtutis or virtue
michi nunc contraria, fate is against me,
est affectus Both passions
et defectus and weaknesses
semper in angaria. are always exploited by fate.
Hac in hora At this hour
sine mora therefore, let us
corde pulsum tangite; pluck the strings quickly;
sternit fortem, for Fate brings down the brave,
mecum omnes plangite! Let us mourn together!
2. Fortune plango vulnera I lament Fortune's blows
Fortune plango vulnera I lament Fortune’s blows
stillantibus ocellis, with weeping eyes,
quod sua michi minera for she aggressively exhorts
subtrahit rebellis. tribute from me.
Verum est, quod legitur, Truly it is written
fronte capillata, that the head may be hairy
sed plerumque sequitur but often there follows
Occasio calvata. a season of baldness.
In Fortune solio On Fortune’s throne
sederam elatus, I once sat, raised up
prosperitas vario garlanded with
flore coronatus; all the blooms of prosperity;
quicquid enim florui but however much I flourished
felix et beatus, happy and blessed,
nunc a summo corrui now I have tumbled from the summit
gloria privatus. robbed of my glory.
Fortune rota volvitur: Fortune’s wheel turns:
descendo minoratus; and I descend, debased;
alter in altum tollitur; another is carried aloft;
nimis exaltatus all too exalted
rex sedet in vertice sits the king at the top
caveat ruinam: let him beware ruin!
nam sub axe legimus For beneath the wheel we read
Hecubam reginam. The name of Queen Hecuba.
3. Veris leta facies The smiling face of spring
Veris leta facies The smiling face of spring
mundo propinatur, turns toward the world,
hiemalis acies sharp winter
victo iam fugatur; now flees defeated
in vestitu vario In various garb
Flora principatur, Flora reigns,
nemorum dulcisono the sweet sounds of the woods
que cantu celebrantur. praise her song.
Flore fusus gremio Laid in Flora’s lap
Phebus novo more Phoebus once again
risum dat, hoc vario laughs, now covered
iam stipate flore. with multicolored flowers.
Zephyrus nectareo Zephyrus breathes
spirans in odore. the scent of their nectar.
Certatim pro bravio let us rush to compete
curramus in amore. in the race of love.
Cytharizat cantico With harp-like sounds
dulcis Philomena, sweet Philomena sings,
flore rident vario the meadows now laugh
prata iam serena, covered in many flowers.
salit cetus avium the birds flit about
silve per amena, the pleasant woods;
chorus promit virginum A chorus of virgins
iam gaudia millena. Promises a thousand joys.
4. Omnia sol temperat The sun, pure and lovely
Omnia sol temperat The sun, pure and lovely
purus et subtilis, warms all things,
novo mundo reserat and again reveals to the world
faciem Aprillis, the face of April,
ad amorem properat men’s hearts
animus herilis yearn toward love
et iocundis imperat and over happy people
deus puerilis. The boy-god rules.
Rerum tanta novitas The renewal of everything
in solemni vere in Spring’s festivities
et veris auctoritas and Spring’s power
jubet nos gaudere; bids us rejoice;
vias prebet solitas it brings back familiar ways
et in tuo vere And in your springtime
fides est et probitas it is true and right
tuum retinere. To keep what is yours.
Ama me fideliter! Love me faithfully!
Fidem meam nota: see the faithfulness
de corde totaliter of my whole heart
et ex mente tota and my soul
sum presentialiter I am with you
absen in remota, even when I am absent,
quisquis amat taliter whoever loves as I do
volvitur in rota. is turned on the wheel.
5. Ecce gratum Behold the welcome
Ecce gratum Behold the welcome
et optatum and longed-for
ver reducit gaudia, Spring ushers in joy,
purpuratum purple flowers
floret pratum, fill the meadows
sol serenat omnia. And the sun brightens everything.
Iam iam cedant tristia! Now let sadness be banished!
Estas redit, Summer returns
nunc recedit and withdraws
Hyemis servitia. The harsh winter.
Iam liquescit Now melts
et decrescit and disappears
grando, nix et cetera; the snow, hail and the rest;
Bruma fugit, Fog disperses,
et iam sugit and now sucks
Ver Estatis ubera; Spring at Summer’s breast.
illi mens est misera He is miserable
qui nec vivit, who does not enjoy life
nec lascivit nor lusts
sub Estatis dextera. Under Summer’s reign.
Gloriantur They glory
et letantur and are glad
in melle dulcedinis, in the honey of sweetness,
qui conantur who strive
ut utantur to rejoice
premio Cupidinis: in Cupid’s prize.
simus jussi Cypridis let us, at Venus’ command,
gloriantes glory
et letantes and be glad.
pares esse Paridis. Let us be Paris’ equals.
6. Tanz (instrumental) Tanz (instrumental)
7. Floret silva nobilis The noble forest blooms
Floret silva nobilis The noble forest blooms
floribus et foliis. With flowers and leaves
Ubi est antiquus Where is he
meus amicus? who was my lover?
Hinc equitavit! He rode away on horseback.
Eia, quis me amabit? Alas, who will love me?
Floret silva undique Everywhere the forest blooms
nah mime gesellen ist mir wê. I long for my lover.
Gruonet der walt allenthalben, If the wood is green everywhere,
wâ ist min geselle alse lange? why does my lover not return?
Der ist geritten hinnen! He has ridden away from here.
O wî, wer sol mich minnen? Alas, who will love me?
8. Chramer, gip die varwe mir Shopkeeper, give me the rouge
Chramer, gip die varwe mir, Shopkeeper, give me the rouge
die min wengel roete, to make my cheeks red
damit ich die jungen man so that the young men
an ir dank der minnenliebe noete. May not resist my charms.
Seht mich an, Look at me,
jungen man! young men!
Lat mich iu gevallen! Let me please you!
Minnet, tugentlich man, Make love, good men
minnecliche frouwen! lovable women!
minne tuot iu hoch gemout Love makes you courageous
unde lat iuch in hohen eren schouwen. And lets you stand in high honor.
Seht mich an, Look at me,
jungen man! young men!
Lat mich iu gevallen! Let me please you!
Wol dir, werlt, daz du bist Hail, o world that is
also freudenriche! so rich in joys!
Ich wil dir sin untertan I will obey you
durch din liebe immer sicherliche. always secure in your love.
Seht mich an, Look at me,
jungen man! young men!
Lat mich iu gevallen! Let me please you!
9. Reie Reie
Swaz hie gat umbe Here all in a circle
daz sint allez megede are all maidens
die wellent ân man who want to do without a man
allen diesen sumer gan! All summer long!
Chume, chum, geselle min, Come, come, my love
ih enbite harte din, I long for you
ih enbite harte din, I long for you,
chume, chum, geselle min. Come, come my love.
Suzer rosenvarwer munt, Sweet rosy mouth,
chum un mache mich gesunt come and make me whole
chum un mache mich gesunt come and make me whole
suzer rosenvarwer munt. Sweet rosy mouth.
10. Were diu werlt alle min Were all the world mine
Were diu werlt alle min Were all the world mine
von dem mere unze an den Rin, from the sea to the Rhine,
des wolt ih mih darben, I would give it up
daz diu chünegin von Engellant to have the Queen of England
lege an minen armen. lying in my arms.
11. Estuans interius Burning inwardly
Estuans interius Burning inwardly
ira vehementi with mighty anger
in amaritudine I talk bitterly
loquor mee menti: to myself:
factus de materia, made of matter,
cinis elementi, from the earth’s ashes
similis sum folio, I am like a leaf
de quo ludunt venti. that the winds toy with.
Cum sit enim proprium If it is proper
viro sapienti that a wise man
supra petram ponere builds his foundation
sedem fundamenti, upon rock,
stultus ego comparor than I am a fool,
fluvio labenti, like a river
sub eodem tramite whose course
nun quam permanenti. is always changing.
Feror ego veluti I am carried along
sine nauta navis, like a pilotless ship
ut per vias aeris as a bird is carried aimlessly
vaga fertur avis: through the air’s paths:
non me tenent vincula, no fetters hold me,
non me tenet clavis, no keys or locks imprison me
quero mihi similes I search for men like myself
et adiungor pravis. And join the depraved.
Mihi cordis gravitas The heaviness of my heart
res videtur gravis; weighs gravely upon me
iocis est amabilis a joke is pleasant
dulciorque favis: and sweeter than honeycombs;
quicquid Venus imperat, whatever Venus commands
labor est suavis, is sweet labor,
que nunquam in cordibus for she never dwells
habitat ignavis. in faint hearts.
Via lata gradior I travel a broad path
more iuventutis as youth does
inplicor et vitiis I am entangled in vice
immemor virtutis, heedless of virtue,
voluptas avidus greedy for pleasure,
magis quam salutis, more than for salvation,
mortuus in anima dead in spirit
curam gero cutis. I look after the flesh.
12. Olim lacus colueram Once I lived on lakes
Olim lacus colueram, Once I lived on lakes
olim pulcher extiteram, once I was beautiful,
dum cignus ego fueram. when I was a swan.
Miser, miser! Miserable me!
Modo niger now I am blackened
et ustus fortiter! and roasting fiercely!
Girat, regirat garcifer; The cook turns me on the spit
me rogus urit fortiter; the fire roasts me through
propinat me nunc dapifer. Now the waiter serves me up.
Miser, miser! Miserable me!
Modo niger now I am blackened
et ustus fortiter! and roasting fiercely.
Nunc in scutella iaceo, Now I lie on a platter
et volitare nequeo and I cannot fly away
dentes fredentes video. I see gnashing teeth
Miser, miser! Miserable me!
Modo niger now I am blackened
et ustus fortiter! and roasting fiercely!
13. Ego sum abbas Cucaniensis I am the Abbot of Cockaigne
Ego sum abbas Cucaniensis I am the Abbot of Cockaigne
et consilium meum est cum bibulis, and my congregation is of drinkers,
et in secta Decii voluntas mea est, and I want to be in the Order of Gamblers,
et qui mane me quesierit in taberna, whoever meets me early in the tavern with dice
post vesperam nudus egredietur, will depart naked by Vespers,
et sic denudatus veste clamabit: and stripped of his clothes he will cry:
Wafna, wafna! Wafna, wafna!
Quid fecisti sors turpissima? Vilest fate, what have you done?
Nostre vite gaudia you have taken away
abstulisti omnia! All the joys of my life!
Wafna! Wafna! Ha, ha! Wafna! Wafna! Ha, ha!
14. In taberna quando sumus When we are in the tavern
In taberna quando sumus When we are in the tavern
non curamus quid sit humus, we do not think of our mortality,
sed ad ludum properamus, but we hurry to gamble
cui semper insudamus. which always makes us sweat.
Quid agatur in taberna If you want to know
ubi nummus est pincerna, what happens in the tavern,
hoc est opus ut queratur, (where money gets you wine),
si quid loquar, audiatur. then listen to what I say.
Quidam ludunt, quidam bibunt, Some gamble, some drink,
Quidam indiscrete vivunt. Some behave indiscreetly,
Sed in ludo qui morantur, Of those who gamble,
ex his quidam denudantur, some lose their clothes,
quidam ibi vestiuntur, while others win them
quidam saccis induuntur. and others are dressed in sackcloth.
Ibi nullus timet mortem Nobody fears death there:
sed pro Baccho mittunt sortem. throwing dice in Bacchus’ name.
Primo pro nummata vini First it is to the wine merchant
ex hac bibunt libertini; that the libertines drink;
semel bibunt pro captivis, once more they drink to prisoners
post hec bibunt ter pro vivis, third, they drink to the living,
quater pro Christianis cunctis, fourth, for all Christians,
quinquies pro fidelibus defunctis, fifth, for the faithful departed,
sexies pro soroibus vanis, sixth, for the wayward sisters,
septies pro militibus silvanis, seventh, to the soldiers in the woods,
Octies pro fratribus perversis, Eighth, they drink to the sinful brothers,
nonies pro monachis dispersis, ninth, for dispersed monks,
decies pro navigantibus, tenth for the sailors,
undecies pro discordantibus, eleventh for the squabbling,
duodecies pro penitentibus, twelfth for the penitent,
tredecies pro iter argentibus. thirteenth, they drink to travelers.
Tam pro papa quam pro rege They all drink without restraint
bibunt omnes sine lege. for the Pope as for the King.
Bibit hera, bibit herus, The mistress drinks, the master drinks,
bibit miles, bibit clerus, the soldier drinks, the cleric drinks,
bibit ille, bibit illa, the man drinks, the woman drinks,
bibit servis cum ancilla, the servant drinks with the maidservant,
bibit velox, bibit piger, the quick man drinks, the slow man drinks,
bibit albus, bibit niger, the white man drinks, the black man drinks,
bibit constans, bibit vagus, the steady man drinks, the wanderer drinks,
bibit rudis, bibit magus, the ignorant man drinks, the sage drinks,
Bibit pauper et egrotus, The poor man and the sick man drink,
bibit exsul et ignotus, the exiled and the stranger,
bibit puer, bibit canus, the boy drinks, the old man drinks,
bibit presul et decanus, the bishop and the deacon drink,
bibit soror, bibit frater, the sister drinks, the brother drinks,
bibil anus, bibit mater, the old woman 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 where all drink without restraint
bibunt omnes sine meta. and without measure.
Quamvis bibant mente leta, Although they drink cheerfully,
sic nos rodunt omnes gentes, they all slander us,
et sic erimus egentes. And we shall become poor.
Qui nos rodunt confundantur Let those who slander us be confounded
et cum iustis non scribantur. And not be inscribed in the book of the just.
15. Amor volat undique Love flies everywhere
Amor volat undique, Love flies everywhere,
captus est libidine. seized by desire.
Iuvenes, iuvencule Young men, young women
coniunguntur merito. couple together, as is right.
Siqua sine socio, A girl without a man
caret omni gaudio; misses out on all joys;
tenet noctis infima sub intimo deepest night holds her inmost
cordis in custodia: heart enchained:
fit res amarissima. the bitterest of fates.
16. Dies, nox et omnia Day, night and all things
Dies, nox et omnia Day, night and all things
michi sunt contraria; are against me;
virginum colloquia the chatter of maidens
me fay planszer, makes me weep,
oy suvenz suspirer, and often sigh,
plu me fay temer. and makes me more afraid.
O sodales, ludite, O friends, you toy with me,
vos qui scitis dicite and tell me, you who know
michi mesto parcite, spare me in my misery,
grand ey dolur, great is grief,
attamen consulite at least advise me
per voster honur. For your honor’s sake.
Tua pulchra facies, Your beautiful face,
me fay planszer milies, makes me weep a thousandfold,
pectus habet glacies. you have a heart of ice.
A remender To restore me,
statim vivus fierem I would be revived
per un baser. with a single kiss.
17. Stetit puella A girl stood
Stetit puella A girl stood
rufa tunica; in a red dress;
si quis eam tetigit, if anyone touched it,
tunica crepuit. the dress rustled.
Eia. Eia.
Stetit puella A girl stood
tamquam rosula; like a rosebud;
facie splenduit, her face was radiant,
os eius floruit. her mouth bloomed.
Eia. Eia.
18. Circa mea pectora Within my breast
Circa mea pectora Within my breast
multa sunt suspiria are many sighs
de tua pulchritudine, because of your beauty
que me ledunt misere. Which wounds me pitifully.
Manda liet, manda liet Mandaliet, mandaliet
min geselle chumet niet. my lover is not coming.
Tui lucent oculi Your eyes shine
sicut solis radii, like the sun’s rays,
sicut splendor fulguris like the splendor of lightning
lucem donat tenebris. which illuminates the darkness.
Manda liet, manda liet Mandaliet, mandaliet
min geselle chumet niet. my lover is not coming.
Vellet deus, vellent dii, May God, may all the gods
quod mente proposui: favor my desire:
ut eius virginea to loosen the bonds
reserassem vincula. of her virginity.
Manda liet, manda liet Mandaliet, mandaliet
min geselle chumet niet. My lover is not coming.
19. Si puer cum puellula If a boy with a girl
Si puer cum puellula If a boy with a girl
moraretur in cellula, lingers in a little room,
felix coniunctio. happy is their union.
Amore suscrescente Love wells up
parieter in medio equally between them
avulso procul tedio tedium is banished
fit ludus ineffabilis an ineffable age-old pleasure
membris, lacertis, labiis. pours into their limbs, arms, lips.
20. Veni, veni, venias Come, come, oh come
Veni, veni, venias, Come, come, oh come,
ne me mori facias, do not let me die,
hyrca, hyrce, nazaza, he-goat, she-goat, nazaza
trillirivos! trillirivos!
Pulchra tibi facies, Your beautiful face
oculorum acies, the shine of your eyes,
capillorum series, the tresses of your hair,
o quam clara species! Oh, how beautiful you look!
Rosa rubicundior, Redder than the rose,
lilio candidior, whiter than the lily,
omnibus formosior, more beautiful than all others,
semper in te glorior! I shall always glory in you!
21. In trutina In my hesitant mind
In trutina mentis dubia, In my hesitant mind,
fluctuant contraria, opposite feelings waver,
lascivus amor et pudicitia. lustful love and chastity.
Sed eligo quod video, But I choose what I see,
collum iugo prebeo: and bend my neck to the yoke:
ad iugum tamen suave transeo. to so sweet a yoke I submit.
22. Tempus est iocundum This is a joyful time
Tempus est iocundum, This is a joyful time,
o virgines, o maidens,
modo congaudete, rejoice together,
vos iuvenes. you young men.
O, totus floreo, Oh! I bloom all over,
iam amore virginali I am burning all over
totus ardeo, with ardent love,
novus, novus amor est, my new, new love,
quo pereo. of which I am dying!
Mea me confortat I am comforted
promissio, by my promise,
mea me deportat I am downcast
negatio. by my refusal.
O, totus floreo, etc. Oh! I bloom all over, etc.
Tempore brumali In wintertime
vir patiens, man is patient,
animo vernali Spring’s breezes
lasciviens. make him passionate.
O, totus floreo, etc. Oh! I bloom all over, etc.
Mea mecum ludit My virginity
virginitas, teases me,
mea me detrudit my innocence
simplicitas. restrains me.
O, totus floreo, etc. Oh! I bloom all over, etc.
Veni domicella, Come, my mistress,
cum gaudio, come with joy,
veni, veni, pulchra, come, come, my beautiful one
iam pereo. I am already dying.
O, totus floreo, etc. Oh! I bloom all over, etc.
23. Dulcissime My sweetest one
Dulcissime, My sweetest one,
totam tibi subdo me! I give myself to you completely!
24. Ave formosissima Hail, most beautiful one
Ave formosissima, Hail, most beautiful one,
gemma pretiosa, precious jewel,
ave decus virginum, hail, pride of virgins,
virgo gloriosa, glorious maiden,
ave mundi luminar, hail, light of the world,
ave mundi rosa, hail, rose of the world,
Blanzifor et Helena, Blanchefleur and Helen,
Venus generosa! Noble Venus!
25. O Fortuna O Fortune
O Fortuna, etc. O Fortune, etc.