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Carmina Burana (Anon.11-13th c.) - CB 4: Flete, fideles anime

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Published on Dec 25, 2011

New London Consort, Philip Pickett, dir. Carmina Burana, Vol. III.

Carmina Burana, meaning "Songs from Beuern" in Latin, is a manuscript of religious and profane songs based on poems, plays and dramatic texts describing the catholic church in satyrical and critical means. They were mainly composed by students and clergymen between the 11th and 13th centuries, in Latin, and German and French venacular. Fragments which have been recovered indidate a large amount of works were composed during the 12th century. The manuscript was discovered in 1803 in the Bavarian Benedictine monastery of Benediktbeuern.

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Weep, faithful souls,
weep, best of sisters:
multiplied are
the signs of sorrow,
laments and tears.

Mary's maternal flesh
weeps for these wounds.
I mourn that motherhood
which I used to call
a joyful childbearing.

Wretched sight
of cross and spear!
This image,
locked in my mind,
woulds me deeply.
Thus was it spoken,
thus prophesied,
he foretold it:
this is the sword
which thrusts through my soul.

While the head droops
with its crown of thorns,
while the wounds in his hands
bloody his fingers,
I kneel and gaze.
I look up at him.
and my spirit fails me,
while the wound in his side,
the place where he was pierced,
flows unceasingly.

Why indeed, dear son,
do you hang thus, when you are life itself for all eternity?
Celestial king, from the wicked the punishment is transferred to you:
spotless lamb.

Pure flesh, precious world,
why do you thirst upon the altar of the cross,
sacrificed for the sins of others?
Why do you thirst upon the altar of the cross,
dearest one, whose flesh knows no sin,
dearest one, innocent of guilt?

o perfidious minds
and duplicitous tongues,
o deceitful witnesses
and fraudulent judges!
Old men and youths,
most of them corrupt,
cruelly condemn lesser criminals
to be hanged
for their sins.

Innocence
stands condemned
in order to expedite
a fitting moral.
Supporters of the crime,
men of blood,
murmur praises to the Lord
while worshipping evil
disguised as virtue.

My John, be moved to lamentation.
Mourn with me, my new son:
son of a new pact
between mother and sister.
It is time to lament:
let us offer ourselves, we intimates,
as victims of tears
for the dying Christ.

Let us hail Jesus,
captured, dragged, conquered, cut down,
mocked and beaten
by the servants of Hell,
the creator of the true light;
as day is developed by night
his life submits to death, death on the cross.

Thus unwillingly I still live,
while wishing to die:
my son,
fastened to the cross,
cannot bring forth my sad soul
and remove me
from this evil.

Wicked earth, the heavens tremble
and the ground shakes
at the impiousness of these abominable people
who bring out their swords
in holy places
and strike down my son:
Holy Christ,
they have killed you.


Performers: Catherine Bott (soprano), Michael George (baritone), Chorus: Tessa Bonner (soprano), Sally Dunkley (soprano), Andrew King (tenor), Allan Parkes (baritone), Simon Grant (bass), Frances Kelly (harp, rote), Andrew Lawrence-King (harp), Pavlo Beznosiuk (vielle, rebec), William Lyons (recorder), Catherine Latham (recorder),
gittern), Paula Chateauneuf (gittern), Stephen Henderson (bells, nakers, tabor, tambourine), Clifton Prior (tabor), Stephen Jones (vielle, rebec), Philip Pickett (recorder, symphony), David Tosh (dulcimer)

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