{"id":2439,"date":"2017-05-22T12:15:13","date_gmt":"2017-05-22T12:15:13","guid":{"rendered":"http:\/\/longkft.hu\/audioblog\/?p=2439"},"modified":"2022-09-03T18:23:55","modified_gmt":"2022-09-03T18:23:55","slug":"carl-orff-carmina-burana-1935-36","status":"publish","type":"post","link":"https:\/\/longkft.hu\/audioblog\/carl-orff-carmina-burana-1935-36\/","title":{"rendered":"Carl Orff – Carmina Burana"},"content":{"rendered":"

A k\u00fcl\u00f6nf\u00e9le zenei m\u0171fajokkal val\u00f3 ismerked\u00e9s, az azokban val\u00f3 kalandoz\u00e1s sor\u00e1n alapvet\u0151en meghat\u00e1roz\u00f3 lehet, hogy egy-egy m\u0171fajjal, szerz\u0151vel – pl. Carl Orff -, mely \u00e9let- (\u00e9s szellemi) korban \u00e9s f\u0151leg, hogy az adott m\u0171faj melyik darabj\u00e1val tal\u00e1lkozunk el\u0151sz\u00f6r. Egy rossz \u00e9letkorban volt rossz v\u00e1laszt\u00e1s \u00f6r\u00f6kre becsukhat „kapukat”, azonban a j\u00f3 korban j\u00f6tt j\u00f3 zenei tal\u00e1lkoz\u00e1s eg\u00e9sz \u00e9letre sz\u00f3l\u00f3 \u00e9lm\u00e9nyt, mindig, mindenre nyitott \u00e9s befogad\u00f3 „f\u00fcleket” eredm\u00e9nyez. A zenei nevel\u00e9st\u0151l f\u00fcgg\u0151en, melyben nagyon nagy szerepe van a sz\u00fcl\u0151knek, bar\u00e1toknak, el\u0151bb-ut\u00f3bb mindenki tal\u00e1lkozik fajs\u00falyosabb zen\u00e9kkel, tal\u00e1lkozik a jazz, a klasszikus zene k\u00fcl\u00f6nf\u00e9le \u00e1gaival, majd \u00f3hatatlanul „belebotlik” az oper\u00e1ba. Nagyon ingov\u00e1nyos vil\u00e1gok ezek, melyek m\u00e1r az els\u0151 tal\u00e1lkoz\u00e1sn\u00e1l k\u00e9pesek v\u00e9gleg elrettenteni, vagy \u00e9ppen felfedez\u00e9sre, \u00f6r\u00f6k „elmer\u00fcl\u00e9sre” invit\u00e1lni.<\/span><\/p>\n

Az els\u0151 klasszikus lemezem – mint oly sokunknak – Vivaldi „N\u00e9gy \u00e9vszak” c. m\u0171ve volt. \u00c9ppen „\u0151szinte k\u0151kem\u00e9ny rockzene” korszakomat \u00e9ltem, \u00edgy nem igaz\u00e1n tudtam mit kezdeni vele, nem \u00e9rtettem, mi\u00e9rt kaptam, mi\u00e9rt kellene meghallgatnom. A k\u00f6vetkez\u0151 l\u00e9p\u00e9s azonban m\u00e1r rendk\u00edv\u00fcl „\u00fct\u0151s”, eg\u00e9sz \u00e9letemre meghat\u00e1roz\u00f3 zenei \u00e9lm\u00e9nyt adott – 15 \u00e9vesen, egy bar\u00e1tomn\u00e1l tal\u00e1lkoztam (tal\u00e1lkoztunk) el\u0151sz\u00f6r a Carmina Burana-val. \u00d3r\u00e1kig, napokig voltunk k\u00e9pesek hallgatni, s\u0151t, id\u0151nk\u00e9nt l\u00e9ggit\u00e1roztunk \u00e9s cs\u00e1poltunk is r\u00e1. Tehets\u00e9gesebb bar\u00e1taimat oly annyira megfogta a zene, hogy az alapj\u00e1ul szolg\u00e1l\u00f3 11-13. sz\u00e1zadi versgy\u0171jtem\u00e9nyb\u0151l \u00f6n\u00e1ll\u00f3 m\u0171sort is k\u00e9sz\u00edtettek.<\/span><\/p>\n

\"Carl<\/p>\n

Klasszikus zenei kalandoz\u00e1saimban teh\u00e1t a Carmina Burana volt az az alapm\u0171, ami kinyitotta f\u00fclemet, lelkemet \u00e9s elvezetett a jazz, majd k\u00e9s\u0151bb az opera vil\u00e1g\u00e1ba is. Rendk\u00edv\u00fcl szerencs\u00e9snek tartom magamat ez\u00e9rt. Orff m\u0171veit az\u00f3ta is gy\u0171jt\u00f6m – b\u00e1r reperto\u00e1rja nagyon kicsi -, a Carmina Burana el\u0151ad\u00e1saib\u00f3l pedig \u00f6sszeszedtem sokf\u00e9le el\u0151ad\u00e1st, sokf\u00e9le „felfog\u00e1st”.<\/span><\/p>\n

Tal\u00e1n eleve elrendeltetett, vagy tudat alatt t\u00e9nyleg mi alak\u00edtjuk a sorsunkat, de mindk\u00e9t gyerekemet (t\u00f6bb \u00e9v elt\u00e9r\u00e9ssel) volt m\u00f3domban hallani, l\u00e1tni a Carmina Burana-t \u00e9nekelve. Nagyobbik fiam egyike volt annak az 1500 embernek, akik 2003-ban Z\u00e1borszky K\u00e1lm\u00e1n karmester vezet\u00e9s\u00e9vel el\u0151adt\u00e1k a m\u0171vet, t\u00f6k\u00e9letesen \u00e1tadva annak monumentalit\u00e1s\u00e1t, egyedi hangz\u00e1s\u00e1t. K\u00e9s\u0151bb \u0151 a Zeneakad\u00e9mi\u00e1n is, kisebbik gyerekem pedig a M\u00dcPA-ban \u00e9nekelt Orff megunhatatlan darabj\u00e1t. Azonban, az \u00e9rzelmi t\u00f6lt\u00e9sen t\u00fall\u00e9pve, nem ezek az el\u0151ad\u00e1sok voltak sz\u00e1momra zenei \u00e9rtelemben a legk\u00fcl\u00f6nlegesebb Carmina Burana prezent\u00e1ci\u00f3k.<\/span><\/p>\n

Z\u00e1borszky \u00c1d\u00e1m egy zeneakad\u00e9miai el\u0151ad\u00e1s sor\u00e1n \u00e1t\u00e9rtelmezte a m\u0171vet. Al\u00e1rendelt mindent a dinamik\u00e1nak, lend\u00fcletnek, az ER\u0150NEK \u00e9s levez\u00e9nyelte a Carmina Burana heavy metal v\u00e1ltozat\u00e1t – \u00e9s ebben a kijelent\u00e9sben semmi t\u00falz\u00e1s nincs! A szok\u00e1sos 60+ perc k\u00f6r\u00fcli j\u00e1t\u00e9kid\u0151 helyett 50 percen bel\u00fcl abszolv\u00e1lta a teljes m\u0171vet. Karmesterr\u0151l, zen\u00e9szekr\u0151l, \u00e9nekesekr\u0151l d\u0151lt a ver\u00edt\u00e9k, a n\u00e9z\u0151k pedig egy robog\u00f3 424-es g\u0151zmozdony vezet\u0151\u00e1ll\u00e1s\u00e1n \u00e9rezt\u00e9k magukat, ahol minden hangosan d\u00fcb\u00f6r\u00f6g, z\u00f6r\u00f6g csattog, remeg az energi\u00e1t\u00f3l. Megh\u00f6kkent\u0151 felfog\u00e1s \u00e9s el\u0151ad\u00e1s volt, rendk\u00edv\u00fcl mer\u00e9sz, de maradand\u00f3!<\/span><\/p>\n

N\u00e9h\u00e1ny sz\u00f3 <\/strong>Carl Orff \u00e9let\u00e9r\u0151l \u00e9s a m\u0171r\u0151l:<\/strong><\/span><\/h3>\n

\"Carl<\/p>\n

Carl Orff<\/span><\/a> (1895-1982) n\u00e9met zenetan\u00e1r, sz\u00ednpadi rendez\u0151 \u00e9s (id\u0151nk\u00e9nt) zeneszerz\u0151, eg\u00e9sz \u00e9let\u00e9ben aff\u00e9le \u00fajhull\u00e1mos szem\u00e9lyis\u00e9g volt. Szak\u00edtva a szok\u00e1sos zenei alapokkal, oktat\u00e1si m\u00f3dszerekkel, megalkotta saj\u00e1t oktat\u00e1si elm\u00e9let\u00e9t „Orff-Schullwerk”, melyben a ritmusra fektette az els\u0151dleges hangs\u00falyt, s arra \u00e9p\u00edtette fel a zenei oktat\u00e1st. A zen\u00e9t \u00e9s t\u00e1ncot, de mag\u00e1t az egyszer\u0171 mozg\u00e1st is egys\u00e9gbe \u00f6tv\u00f6zte, amit, mint m\u0171v\u00e9szeti kifejez\u00e9sm\u00f3dot az\u00f3ta is \u00fajra \u00e9s \u00fajra felfedeznek. M\u0171veiben – elm\u00e9let\u00e9nek megfelel\u0151en – \u00f6tv\u00f6z\u0151dik a t\u00e1nc \u00e9s zene, ami azt a hat\u00e1st eredm\u00e9nyezi, hogy m\u0171veit puszt\u00e1n hallgatva is sz\u00ednpad jelenik meg a hallgat\u00f3 k\u00e9pzelet\u00e9ben, melyen folyamatos a „j\u00f6v\u00e9s-men\u00e9s”, folyamatosan \u00e1ramlik az energia.<\/span><\/p>\n

Val\u00f3j\u00e1ban nem is tekintette mag\u00e1t a sz\u00f3 igazi \u00e9rtelm\u00e9ben zeneszerz\u0151nek. Sz\u00ednh\u00e1zi zen\u00e9s el\u0151ad\u00e1sokat rendezett, melyeken a t\u00e1nc a sz\u00ednpadi l\u00e1tv\u00e1ny \u00e9s a zene k\u00f6z\u00f6s egys\u00e9get alkotott, egym\u00e1sra \u00e9p\u00fclt. Az \u00f6ssz\u00e9lm\u00e9nynek csak egy r\u00e9sze volt a zene – \u00e9s tal\u00e1n nem is a legfontosabb. Ezen felfog\u00e1st\u00f3l l\u00e1tsz\u00f3lag csak a „Trionfi” \u00f6sszefoglal\u00f3 n\u00e9ven ismert tril\u00f3gi\u00e1ja t\u00e9r el, melynek darabjai a Carmina Burana, Catuli Carmina, valamint a Trionfo de Afrodite. Sajnos, az ut\u00f3bbi k\u00e9t m\u0171 kev\u00e9sb\u00e9 k\u00f6zismert.<\/span><\/p>\n

\"Carl<\/p>\n

A Carmina Burana alapja az azonos n\u00e9ven fennmaradt 11-13. sz\u00e1zadi gy\u0171jtem\u00e9ny, melyben latin, n\u00e9met \u00e9s francia nyelv\u0171 versek sz\u00f3lnak a szerelemr\u0151l, tavaszr\u00f3l, borr\u00f3l, \u00e9letigenl\u00e9sr\u0151l. Ak\u00e1r a XIX sz\u00e1zad v\u00e9g\u00e9n, P\u00e1rizsban is \u00edr\u00f3dhattak volna. Az \u0151sbemutat\u00f3 1937. J\u00fanius 8-\u00e1n Frankfurtban volt, ahol a m\u0171vet – Orff-t\u00f3l elv\u00e1rhat\u00f3an – aff\u00e9le sz\u00ednpadi j\u00e1t\u00e9kkal egybek\u00f6t\u00f6tt t\u00e1ncsz\u00ednh\u00e1zk\u00e9nt mutatt\u00e1k be. L\u00e9tezik a m\u0171nek egy k\u00fcl\u00f6nleges v\u00e1ltozata is (amit sajnos m\u00e9g nem siker\u00fclt beszereznem), melyben a teljes nagyzenekart k\u00e9t zongor\u00e1val \u00e9s \u00fct\u0151s\u00f6kkel helyettes\u00edtik. Ehhez Orff \u00fagy \u00edrta \u00e1t a m\u0171vet, hogy m\u00e9g t\u00f6bb hangs\u00falyt tett a ritmusra, a l\u00fcktet\u00e9sre, a dallam szerep\u00e9t pedig h\u00e1tt\u00e9rbe szor\u00edtotta.<\/span><\/p>\n

A k\u00e9peken szerepl\u0151 lemezbor\u00edt\u00f3k k\u00f6z\u00f6tt tal\u00e1ltok k\u00e9t kakukktoj\u00e1st is.<\/span><\/h3>\n

Ray Manzarek<\/a><\/span> a Doors<\/a><\/span> feloszl\u00e1sa (Jim Morrison hal\u00e1la) ut\u00e1n egyetlen \u00e9rt\u00e9kelhet\u0151 dolgot alkotott, elk\u00e9sz\u00edtette a Carmina Burana rock-v\u00e1ltozat\u00e1t – felt\u00e9tlen\u00fcl \u00e9rdemes meghallgatni.<\/span><\/p>\n

\"Carl<\/p>\n

A m\u00e1sik \u00e9rdekess\u00e9get viszont csak igaz\u00e1n elvakult Orff rajong\u00f3k figyelm\u00e9be aj\u00e1nlom (nekik sem kell felt\u00e9tlen\u00fcl meghallgatniuk).<\/span><\/p>\n

\"Carl<\/p>\n

Gerhard Lenssen, aki eredetileg k\u00e9mikus, de karmesternek is tov\u00e1bb k\u00e9pezte mag\u00e1t, Drezd\u00e1ban l\u00e9trehozta az igazi „one-man-Theater”-t, ahol \u00f6n\u00e1ll\u00f3an adott el\u0151 pl. zen\u00e9s darabokat, melyekben minden szerepet \u0151 alak\u00edtott. Eme el\u0151ad\u00e1sokb\u00f3l az ut\u00f3kor sz\u00e1m\u00e1ra hanglemezen fennmaradt Carl Orff „Die Kluge” c. r\u00f6vid oper\u00e1ja, melyben minden szerepet Lenssen alak\u00edt, r\u00e1ad\u00e1sul \u00f6nmag\u00e1t zongor\u00e1n k\u00eds\u00e9rve.<\/span><\/p>\n

\"\" \"\" \"\" \"\" \"\" \"\" \"\" \"\" \"\" \"\" \"\"<\/p>\n

Tov\u00e1bbi lemezkritik\u00e1k<\/a><\/span><\/p>\nMegosztom:<\/span>
<\/a><\/a><\/a><\/a><\/a>","protected":false},"excerpt":{"rendered":"

A k\u00fcl\u00f6nf\u00e9le zenei m\u0171fajokkal val\u00f3 ismerked\u00e9s, az azokban val\u00f3 kalandoz\u00e1s sor\u00e1n alapvet\u0151en meghat\u00e1roz\u00f3 lehet, hogy egy-egy m\u0171fajjal, szerz\u0151vel – pl….<\/p>\nMegosztom:<\/span>
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