Vocals & arrangement by Farya Faraji. This is a song from the Carmina Burana, a collection of poems from the 11th, 12th and 13th centuries, written principaly by Goliards, young clergymen who satirised the Church with irreverent poetry, often of a sexual or bawdy nature, mostly in Latin. Around a fourth of the manuscript’s poems are accompanied by musical neumes, such as this one. The melody heard here was reconstruced by Thomas Binkley in the 60’s, however it is hypothetical as the neumes used in the manuscript are a more archaic form of neumatic notation that does not indicate precise pitch relationship between successive neumes, only whether the preceding note was lower or higher in pitch, therefore the original melody may have been very different. The arrangement follows historical medieval practice, with a mostly heterophonic arrangement (all instruments follow the same melodic line while ornamenting it differently), the vocals use some level of ornamentation with rapid articulation and pulsating vocal vibrato as was common back then, (which I describe in detail in this video m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hxcH7S2BaiQ.html), and I added the typical harmonisation of the era based on transposing the same melody up a fourth or a fifth from the original melodic line, a practice rooted in Organum. (Talked about in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rNY4b0aRLcQ.html Lyrics: Tempus est iocundum, O virgines, Modo congaudete Vos iuvenes. Oh - oh, totus floreo, Iam amore virginali Totus ardeo, Novus, novus amor est, Quo pereo. Mea me comfortat Promissio, Mea me deportat Negatio. Oh - oh, totus floreo, Iam amore virginali Totus ardeo, Novus, novus amor est, Quo pereo. Tempore brumali Vir patiens, Animo vernali Lasciviens. Oh - oh, totus floreo, Iam amore virginali Totus ardeo, Novus, novus amor est, Quo pereo. Mea mecum ludit Virginitas, Mea me detrudit Simplicitas. Oh - oh, totus floreo, Iam amore virginali Totus ardeo, Novus, novus amor est, Quo pereo. Veni, domicella, Cum gaudio; Veni, veni, pulchra, Iam pereo. Oh - oh, totus floreo, Iam amore virginali Totus ardeo, Novus, novus amor est, Quo pereo. English translation: This is the joyful time, O maidens, rejoice with them, young men! Oh! Oh! Oh! I am bursting out all over! with first love I am burning all over! New, new love is what I am dying of! I am heartened by my promise, I am downcast by my refusal Oh! Oh! Oh! I am bursting out all over! with first love I am burning all over! New, new love is what I am dying of! In the winter man is patient, the breath of spring makes him lust. Oh! Oh! Oh! I am bursting out all over! with first love I am burning all over! New, new love is what I am dying of! My virginity makes me frisky, my simplicity holds me back. Oh! Oh! Oh! I am bursting out all over! with first love I am burning all over! New, new love is what I am dying of! Come, my mistress, with joy, come, come, my pretty, I am dying! Oh! Oh! Oh! I am bursting out all over! with first love I am burning all over! New, new love is what I am dying of!
At long last...I have enough medieval to renaissance music made by you to make a tabern playlist. I do hope one day all of your music is on spotify, I've mixed your music with other artists for playlists to aid me in writing and it has done absolute wonders. Cheers mate, ¡keep up the good quality!
There is a song by the Belarussian band, Stary Olsa, which has the same melody. It's called Totus Floreo off their Litvins' Treasures: Middle Ages album. A very cool listen to accompany this awesome rendition by Farya.
Omg, this song reminds me of the love stories I’ve been writing for four years now, so it hits come to home And I’m still trying to learn Latin on my own, so it’s a perfect match! Thank you, Farya, for making this song!
Yo! This medieval, ecclesiastical Latin is very interesting, especially with how it's more similar to Italo-Romance (along with other surrounding Romance languages, dialects & accents) & then Italian later in how some of the words are pronounced compared to the latin of the old Roman imperium. 👏🏽
Oh man this is one of my favorite medieval songs! Love the more grounded resonance you gave the vocals. My favorite arrangements of this song are always the ones that reject lofty upright 'traditional' Western singing conventions.
Oooooh, I haven't heard this one a very, very long time (I guess first time I heard "Tempus est locundum" from a Hungarian musician Arany Zoltan in the ancient times). Farya's version is on top🤙And I am not afraid to say that it's maybe even my favourite version of all (cannot say without "maybe" because I haven't heard every single other version of this song in the world)
Absolutely love the music you make. hopefully you make more of this kind of medieval European music. Perhaps you can make something of 'Hebban Olla Vogola haguna'.
I especially love the contrast between Orff's baritone soloist and the children's choir in this song, coming in just as the tempo starts to speed back up after falling back.
The use of the dulcimer in this one was an interesting and welcome choice, even right after listening to Kanonaki music, myself! Great arrangement and, of course, vocals!!!
Hello, is there a way I can use your music for my history RU-vid channel (it is on another account)? I’d gladly purchase it if it means I would be able to use some of your music for my videos on Greek history. If not, that’s perfectly fine, keep making great music! Sorry for bothering you with this comment
OMGOMGOMG MY FAVOURITE CARMEN (I don't care for O Fortuna, we've had an overdose of it in Greece in the eighties) I had it on cassette tape by some german band who did new takes of medieval music and such. Playing a song on loop on cassette is not easy, but i did it because I LOVE THIS SONG
Oh gods, I found it! I'm literally crying... Farya dear, every time you post you seem to send me to such delightful mini quests. You're a treasure. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UPNCGsCARh4.html
Very good Faraji! I recently came upon a rendition of this song a few months back, but I didn't expect a piece from you. 👍 Please keep giving the world your music. 😁
Beautiful rendition as always Farya! For anyone who liked this song, I'd also recommend the versions done by "Arany Zoltan," "Carl Orff," and "Arte Factum."
Finally you did the Carmina Burana. Marvelous interpretation as always. I hope you touch on medieval music a lot more as personally i think it's very underrated. Especially those from the manuscript of London. P.S. I've seen the verse "mea mecum ludit virgintas" being translated as "my virginty plays with me" which i guess it's sort of on the same line as frisky but i wonder, where did you get this more vernacular... translation, or did you make it yourself?
I like this rendition much more than Orff's one, and I think that one is good too. I just think it captures the spirit better (both do, in different ways, you have a nice way of leaving your imprint). Cheers!
@@hyperlinkblockedd only w40 I know are a truck " IFA W 40" from GDR( east Germany before reunification) and WD-40 So no wonder that a joke like that is so far above my head that breaches the Armstrong Line
I love your channel! I have a big question. Can you explain the development of Christian Chant from an eastern style to what we know today as Gregorian? I am interested because I am a Roman Catholic born and living on the West Coast of the USA with a deep love of the Eastern Church. Also I am part Persian so that is also part of my draw to the east. I have tried find an explanation of why the chant of the west diverted so drastically compared to the east but have not found much to explain it other than the people of the west couldn’t figure out the traditional chants during the Middle Ages. Thank you very much. I wish you much success and happiness in your life and endeavors!
The simplest explanation that is commonly accepted is the rise of harmony in Western Europe. Once you want multiple people to hit different notes at the same time to produce a specific harmony, you can’t have all of them pulsating and twirling their vocals all over the place with ornamentation. Harmonies are clearest when the vocals are sung simply and the pitch is maintained straight instead of wavering. So in order to secure the vertical integrity of different melodic lines stacked up on top of one another, the horizontal melodic lines had to be simplified and unadorned. I explain this in more detail in my Microtonality : The Lost Art of the West if you’re interested :)
It’s mostly a rotation of geographical styles/eras. I’ll do something ancient Roman, then Iranian, then Balkan etc. Basically never sticking to the same place/era twice in a row and at least having 1 or 2 months until I approach it again, that way it always feels fresh :)
Carl Orff's melody is 100% original and not even remotely based on the manuscript's neumes. You may over-interpreting the degree to which this melody heard here is speculative. Two or three notes here and there may be off, but generally, this was the melody's structure. Orff's melody isn't remotely similar. His pieces have absolutely nothing to do with the manuscript outside of the lyrics, the music is entirely his own without any inspiration from the manuscript.
