De Temporum Fine Comoedia

Operas by Carl Orff
Der Mond (1939) Die Kluge (1943) Antigonae (1949) De Temporum Fine Comoedia (1973)
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De Temporum Fine Comoedia, literally Play of the End of Time, is an opera or musical play by 20th Century German composer Carl Orff. It was his last work and took ten years to compose (1962 to 1972, later revised in 1979). Its premiere was at the Salzburg Music Festival on August 20, 1973, by Herbert von Karajan and the Cologne Radio Symphony Orchestra and Chorus. In this highly personal work Orff presented a mystery play in which he summarized his view of the end of time, sung in Greek, German and Latin.^[1]

Roles

Role	Voice type	Premiere cast, 20 August 1973[2] (Conductor: Herbert von Karajan)
1rst Sibyl	soprano	Anna Tomowa-Sintow
2nd Sibyl	soprano	Colette Lorand
3rd Sibyl	soprano	Jane Marsh
4th Sibyl	soprano	Kay Griffel
5th Sibyl	soprano	Gwendolyn Killebrew
6th Sibyl	soprano	Kari Lövaas
7th Sibyl	mezzo-soprano	Heljiä Angervo
8th Sibyl	mezzo-soprano	Sylvia Anderson
9th Sibyl	mezzo-soprano	Glenys Loulis
1rst Anachoret	tenor	Erik Geisen
2nd Anachoret	tenor	Hans Wegmann
3rd Anachoret	baritone	Hans Helm
4th Anachoret	baritone	Wolfgang Anheisser
5th Anachoret	baritone	Siegfried Rudolf Frese
6th Anachoret	baritone	Hermann Patzalt
7th Anachoret	baritone	Hannes Jokel
8th Anachoret	bass	Anton Diakov
9th Anachoret	bass	Boris Carmeli
Stimme	mezzo-soprano	Christa Ludwig
Stimme	tenor	Peter Schreier
Luzifer	spoken	Hartmut Forche
Prolog/Choral-director	spoken	Rolf Boysen

Music

Summary/Dramatis Personae

The opera is in 3 parts, with each part having their own characters. Part I involves 9 Sibyls, represented by female singers.

• 3 Dramatic Sopranos
• 4 Mezzo-Sopranos
• 1 Alto
• 1 deep Contralto

Part II involves 9 Anchorites, represented by male singers

• 1 Tenor
• 5 Baritones
• 2 Basses
• 1 Basso profondo

There is also a children's choir, along with a tenor section that is heard on a magnetic tape. Part III involves the following people. The last beings; represented by three large mixed choirs The choral-director, who plays a speaking part and directs the chorus Lucifer, who appears near the end, and utilises a speaking-role. There is also a double chorus of Sopranos and Altos used near the end, as well as two soloists, tenor and contralto, to represent the "Vox Mundana". A children's choir is also used to represent the "Voces caelestes". I. DIE SIBYLLEN - THE SIBYLS 1) “Heis theós estin anarchos, hypermegéthaes, agénaetos” A god is, without beginning, immense, unformed 2) “Opse theü g’aléüsi myloi” The mills of God are late to grind 3) “Pasin homü nyx estin isae tois plüton echusin kai ptochois” The same night awaits all, rich and poor 4) “Choneusó gar hapanta kai eis katharón dialexó” I will melt everything down and purify it 5) “Vae! Ibunt impii in gehennam ignis eterni” Woe! The impious shall enter the hell of the eternal fire II. DIE ANACHORETEN - THE ANCHORITES 6) “Upote, maepote, maepu, maedépote… ignis eterni immensa tormenta” Never, never, in no place, at no time the measureless torment of the eternal fire 7) “Unus solus Deus ab aeterno in aeternum” God is One alone from eternity to eternity 8)“Nicht Satanas… nicht Lucifer… damnatus nunquam condemnatus in aeternum” Not Satan… not Lucifer… te damned are not condemned for eternity 9) “Mundus terrenus volvitur” The terrestrial world revolves 10) “Wann endet die Zeit?” When will time end? 11) “Gott, schenk uns Wahrsagung, Weissagung, Hellsicht im Traum. Gott, schenk uns den Traum” God, grant us the gifts of prophecy, sagacity, clairvoyance in dreaming. God, grant us the dream. III. DIES ILLA – THAT DAY 12) “Wo irren wir ihn, verloren, verlassen” Whither do we stray, lost, abandoned 13) “Kyrie!” “Serva nos, salva nos, eripe nos!” Lord! Help us, save us, take us away! 14) “Angor, timor, horror, terror ac pavor invadit omnes” Dread, fear, horror, terror and dismay seize us all 15) “Omne genus daemoniorum caecorum, claudorum sive confusorum, attendite iussum meorum et vocationem verborum” Every type of demon, blind, lame or mad, mark the command and the call of my words. 16) “Vae, Portae Inferi oculus aspicit nos tenebrarius tenebris” Woe, the eye, the dark eye looks upon us, with darkness, at the gates of the underworld. 17) “Pater peccavi” Father, I have sinned 18) “Con sublima spiritualità” With highest spirituality Orchestration The music requires a very unusual, and possibly symmetrical orchestra: 6 flutes (all doubling on piccolos), 6 E♭ clarinets (3 doubling on B♭ clarinets) contrabassoon 6 horns in F 8 trumpets in C 6 trombones tuba a consort of 4 viols 8 contrabasses electronic tape an enormous amount of percussion (including about 100 instruments) 3 harps 3 pianos, each with two players electronic organ The percussion section, requiring about 25-30 players, consists of: 2 snare drums 6 tambourines 3 tenor drums 2 bass drums (one with attached cymbal) 3 darabukka (alto, tenor, and bass) 3 tom-toms 6 congas bass conga 4 "timpanetti" with unpitched wooden drum heads (soprano, alto, tenor, and bass) 5 timpani (3 with cymbals) 5 crotales 5 suspended cymbals 1 pair of crash cymbals 3 copper tam-tams (40-60 centimetres in diameter) 2 tam-tams (large & very large) gong pitched to low C dobaci (a Japanese temple bell) pitched to C♯ 5 high bronze bells "at the interval of a semitone" two sets of tubular bells triangle guiro whip maracas 6 castanets hyoshigi* angklung 3 wood bells, actually referring to temple blocks 5 wood blocks "simple" and "double" ratchets 3 "large church ratchets" 4 water glasses celesta 2 glockenspiels lithophone metallophone xylophone tenor xylophone bass xylophone 2 marimbas. The hyoshigi are used only on the inside of the piano at the climax of Part III, where they are struck hard on the piano strings by a percussionist. In the original score, they were used in one other passage as well. The total forces used for the taped sections are piccolo 8 flutes 10 trumpets in C 4 trombones 2 pianos grand church organ glockenspiel marimba crotales timpano, as well as large vocal forces: tenor and contralto solos a large chorus (emitting a loud scream); a tenor section, and double-chorus of sopranos and altos a children's chorus (soprano). There is also one spoken part, an echo of one of the sibyls' spoken dialogue, accompanied by wind machine. Tape Sections The music on magnetic tape is used in four different places, most notably at the end when Lucifer appears. The first section is used in Part I, and requires the following instruments: Piccolo Glockenspiel Marimba Piano The second section, also used in Part I utilises the following: Wind machine, accompanying an echo of one of the Sibyl's dialogue. The third section is used in Part II: A children's choir and tenor section 2 Trumpets in C Crotales Glockenspiel Marimba Timpano 2 Pianos The fourth and final section is used towards the end of Part III. In Orff's final revision in 1981, this taped section was omitted and instead given to players in the orchestra: 8 Flutes 10 Trumpets in C, intoning a Fanfare to heaven 4 Trombones A female chorus (SSAA) Tenor and Contralto soloists A children's choir 1979 revision Orff later made extensive revisions to De Temporum Fine Comoedia with many changes in orchestration. In his 1981 revision the following instruments were added: 1 snare drum, bringing the total number to 3 7 water glasses, bringing the total to 11 Grand church organ, in return omitting it on tape The following instruments were eliminated: Triangle 3 timpanetti, leaving only 1 (alto) All 3 copper tam-tams 2 church ratchets, leaving only 1 2 suspended cymbals, bringing the number down to 3 The modifications to the pre-recorded music consist of the addition of the following: 1 piano, bringing the total up to 3 3 contrabasses The omissions consisted of: All 8 flutes 8 trumpets, leaving only 2 All 4 trombones Grand church organ, instead brought into the orchestra The double-chorus of sopranos and altos The tenor and alto soloists In addition to loud percussive passages, there are also as periods of calm piano and straight dialogue. In this culminative piece, Orff almost abandons his diatonicism to chromaticism, which enriches and thickens the musical texture. As the play is about to finish, after the destruction of all worldly material, Satan asks for forgiveness and is restored to Angel Lucifer, thus forgiven. The unsettling chromaticism here ends and Bach's Before Thy Throne (Vor deinen Thron tret ich hiermit) strikes up in a canon from the four violas. This canon is pandiatonic and upon its completion its mirror image is stated (that is the identical material played backwards). References ^ Boyer (1994) p. 10 ^ Casaglia (2005) Sources Boyer, Paul S. (1994). When time shall be no more: Prophecy belief in modern American culture. Harvard University Press. ISBN 0674951298 Casaglia, Gerardo (2005). "De Temporum Fine Comoedia". Almanacco Amadeus (Italian) Rockwell, John (December 5, 2003). "Gong Beyond 'Carmina Burana,' and Beyond Orff's Stigma". New York Times