In Taberna/In the Tavern

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“In the Tavern” by David Teniers the Younger, 1610-1690, from The National Gallery of Art, public domain

One of the most popular concert choral works of the 20th century I’ve written a book about the entire Carmina Burana, a work which I was privileged to perform with my choir the Cherry Creek Chorale back in October of 2013. Take a look if your own group is involved in a performance. Below is a version of a chapter about one selection, “In Taberna,” which we’re including in an upcoming concert called “Harmony and Hops,” all about the joys of Germany and drinking, in whatever combination we can come up with.

In taberna quando sumus, non curamus quid sit humus, When we are in the tavern, we do not care that we are but dust.
Sed ad ludum properamus, cui semper insudamus. But we hurry to our gambling, which always makes us sweat.
Quid agatur in taberna, ubi nummus est pincerna, What takes place in the tavern, where money is lost,
Hoc est opus ut queratur, sic quid loquar, audiatur. Here is the question to be asked, so then I will talk and you can listen.
Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Some gamble, some drink, some behave indiscreetly.
Sed in ludo qui morantur, ex his quidam denudantur, But of those who linger in their gambling, they may come out of it naked.
Quidam ibi vestiuntur, quidam saccis induuntur.One comes out well clothed, one wrapped in sackcloth.
Ibi nullus timet mortem, sed pro Baccho mittunt sortem: No one is afraid of death, but throws the dice in Bacchus’ name.
Primo pro nummata vini ex hac bibunt libertini: First it is to the wine sellers that the libertines drink,
Semel bibunt pro captivis, post hec bibunt ter pro vivis, Then they drink to the captive, then they drink to the living,
Quater pro Christianis cunctis, quinquies pro fidelibus defunctis Fourth to the Christians, fifth to the faithful dead,
Sexies pro sororibus vanis, septies pro militibus silvanis. Sixth to the vain sisters, seventh to the soldiers in the woods.
Octies pro fratribus perversis, nonies pro monachis dispersis,Eighth to the perverse brethren, ninth for the dispersed monks,
Decies pro navigantibus, undecies pro discordantibus, Tenth for the sailors, eleventh for the discordant ones,
Duodecies pro penitentibus, tredecies pro iter angentibus.Twelfth for the penitents, thirteenth for the wanderers.
Tam pro papa quam pro rege bibunt omnes sine lege.As for the Pope, so for the king, everyone drinks without limit.
Bibit hera, bibit herus, bibit miles, bibit clerus, The mistress drinks, the master drinks, the soldier drinks, the priest drinks,
Bibit ille, bibit illa, bibit servus cum ancilla,  This one drinks, that one drinks, the servant drinks with the maid.
Bibit velox, bibit piger, bibit albus, bibit niger, The swift man drinks, the lazy man drinks, the white man drinks, the black man drinks.
Bibit constans, bibit vagus,   bibit rudis, bibit magus. The constant man drinks, the vague man drinks, the stupid man drinks, the wise man drinks.
Bibit pauper et egrotus,
bibit exul et ignotus,
The poor man drinks, the sick man drinks.
The exile drinks, the stranger drinks.
Bibit puer, bibit canus,
bibit presul et decanus,
Bibit soror, bibit frater,
bibit anus, bibit mater,
Bibit iste, bibit ille,
bibunt centum, bibunt mille.
The young man drinks, the old man drinks, the priest and the deacon drink,
the sister drinks, the brother rinks,
the old lady drinks, the mother drinks.
This one drinks, that one drinks,
A hundred drink, a thousand drink.
Parum sexcente nummate durant cum immoderate bibunt omnes sine meta,
Six hundred pieces of money will hardly suffice if everyone drinks immoderately without measure,
Quamvis bibant mente leta,
Sic nos rodunt omnes gentes et sic erimus egentes. 		All who drink with a merry mind.
Everyone scolds us, and thus we are poor.  
Qui nos rodunt confundantur et cum iustis non scribantur. Those who condemn us should not be written in the book of justice.
Io, io, io! …Heigh-ho!

The director of the Cherry Creek Chorale, Brian Patrick Leatherman, came up with this singable English translation for us to perform in our concert:

When we’re in the tavern, drinking,
Mighty thoughts no one is thinking.
We run over to the table,
Betting, sweating, and unstable.
If you ask me, then you can learn
Just what happens in the tavern.
Money hosting, people paying.
Listen to what I am saying.
Money hosting, people paying.
Listen to what I am saying.
Some folks gamble, some are aimless.
Some are nasty, loud and shameless.
Those who lose the coins they gamble
Exit nakedly to ramble.
Those who win a few more rounds will
End up wearing sacks and towels.
Death forgotten, nothing shocks us,
Dicing in the name of Bacchus.
Death forgotten, nothing shocks us,
Dicing in the name of Bacchus.
First we take the dice and cast them
Drunk enough with wine to last them.
Then drink twice for those in prison,
Drink three times for all the living.
Four to Christian souls pure hearted,
Five times for the long departed.
Six to nuns who have taken off their habits,
Seven times for the roguish restless bandits.
Eight times drink to all the fallen preachers,
Nine to monks who are now disgusting creatures.
Ten to those who sail the ocean,
Eleven to those who cause commotion,
Twelve to those who do their penance,
Thirteen to rovers and dependents.
Pope and King in acclamation
Toast with all immoderation.
Drinks the mistress, drinks the master,
Drink the guard, the cleric faster,
Drinks he, drinks she, free and fervent.
Drinks the maid beside the servant,
Drinks the worker, drinks the sluggard.
Drinks white, black and every color,
Drinks the constant, drinks the fickle,
Drinks the learned and the simple.
Drinks the poor, the sick in danger,
Drinks the exile, drinks the stranger.
Drinks the child and drinks the elder,
Drinks the prelate and his helper,
Drinks the sister, drinks the brother,
Drinks the grandma, drinks the mother.
Drinks this one and that, carousing,
Drink by hundreds, drink by thousands.
All our coin in dissipation
Spent here with immoderation.
All are drinking without measure,
But our drinking brings us pleasure.
Everybody scolds us bluntly,
And we’re always short of money.
Sober critics who won’t buy in,
Devil take them, no one likes them!
Io, Io, Io, Io, Io, Io, Io, Io, IO!!!

This selection is a favorite with the audience but perhaps not so much with the chorus, as it should be sung with lightning speed and is full of tongue-twisting Latin puns and rhymes. Here are a few ideas about the clever wording:

What gardening term is used in the first line?

“Humus,” the word we use today to denote rich, black earth with lots of decayed organic matter. This word is typically translated as “dust” for this song, so that the line reads, “When we are in the tavern, we do not care that we are but dust,” referring to the Biblical idea that God made man out of the dust of the ground: “For dust thou art, and to dust thou shalt return.” Since we tend to think of dust as dry and powdery, we don’t get the actual image that’s being used. Looking at the individual words in the text will often show clever meanings that don’t show up in a translation. The men in the tavern forget when they are drinking that one day they will have to die, and that their bodies will decay, not to put too fine of a point on it.

What betting game are they playing in lines 6-7 that would be instantly recognizable to modern gamblers?

And the answer is: strip poker. Well, sort of. We are told, “But of those who linger in their gambling, they may come out of it bare. One comes out well clothed, one wrapped in sackcloth.” Betting on clothing items almost certainly didn’t have the same sexual overtones as it would today, though. Cloth was very expensive since it was all handwoven, and clothing was often passed down in wills. So these guys are gambling with their clothes because that’s all they have. They’ve probably lost all their money but still want to play. We still use this type of imagery when we say that someone “lost his shirt” in a business venture.

How is enumeration used?

There are two sections in this piece that use enumeration for effect. First, the numbers one through thirteen are used to name groups that the drinkers can drink to. There are varying interpretations/translations of these different group names, but in general they seem to go back and forth between respectable and disreputable. You can imagine a rowdy group in the bar saying, “And now let’s drink to the . . . lusty nuns!” (One way of translating “sororibus vanis.”) And everyone chimes in, “Yeah, the lusty nuns!” and tilts his mug. The list goes on, with everyone getting progressively drunker. (But it’s pretty hard to get a high-grade choral group to sound very drunk and still stay in tune and on time.) Second, there’s a list of pairs who drink; depending on how you count the items, you can say that this list also totals thirteen. Some of the pairs are contrasting: old vs. young, swift vs. lazy; others are typically joined: master and mistress, priest and deacon, sister and brother. The conclusion? Everyone without exception drinks, and if you don’t like it, well, may your name be erased from the book of the just!

Watch these guys spit out those words:

(c) Debi Simons

Why Is Mendelssohn’s Name Sometimes Listed as Mendelssohn-Bartholdy?

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(Image accessed via Library of Congress website)

Note to my readers: This post is a chapter from the book I wrote about Mendelssohn’s oratorio Elijah, which I was privileged to perform with my own choir a number of years ago. This coming October the Cherry Creek Chorale will be performing one of Mendelssohn’s songs in a lovely, varied program titled “Harmony and Hops.” I’ll be writing specific posts about our selections, but in the meantime here’s this material on one of our composers:

I remember seeing this version of Mendelssohn’s name on a piano piece I was (very unsuccessfully) working on, and thinking, Is this another Mendelssohn? You’ll see both version of Felix’s last name used. So what gives? It’s a very complicated, and fascinating, story that concerns itself with Jewish culture in Europe and the role of anti-Semitism.

To begin with, Felix’s grandfather, Moses Mendelssohn, came to Berlin from a small town in Germany in 1743 at the age of 14, even though that city’s society was very hostile to Jews. He managed to become quite prominent in the philosophical and literary world, beating Immanuel Kant in an essay contest sponsored by the Berlin Academy. Frederick the Great even granted him the title of “Protected Jew,” which guaranteed his right to live peacefully in Berlin. (But of course this distinction only makes the lowly status of most Jews even more obvious by contrast.) Moses is a worthwhile historical figure in his own right and was hailed as the “German Socrates.” He devoted much of his later life to writings that eloquently supported the idea of religious freedom, saying that the state should not seek to control the religion of its citizens.

But even such a respected and beloved figure as Moses Mendelssohn couldn’t wipe out the widespread anti-Semitism in European culture. So Abraham, Moses’ son and Felix’s father, took several steps to distance himself and his family from their Jewish heritage. One of those actions was to adopt the surname “Bartholdy,” an action suggested by Abraham’s brother-in-law, Jakob Salomon, who took the name from a property he had acquired. Abraham urged Felix to drop the Mendelssohn name and just use Bartholdy, but even though Felix was baptized as a Protestant and married a minister’s daughter, he refused to drop his use of Mendelssohn. It’s never possible to know exactly what was going on in the mind and heart of someone from the past (or even someone in the present), but it seems to me that Felix wanted to honor both aspects of his background. Most of the time, his public knew him as Mendelssohn without the Bartholdy, but sometimes both names were listed. And that inconsistency has carried over until today.

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Was there a real girl from Ipanema? And just where IS Ipanema, anyway?

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Brazilian Beach Image by jorge luiz ribas from Pixabay

I think I’ve always associated “Ipanema” with “Ipana,” as in the toothpaste brand. (Sort of dates me, I know. Apparently it was brought back to market in 2011 as a “retro brand.”) Hey, I’m sure the girl has a great smile, although we’re not specifically told that in the song.

But it won’t surprise you to find out that there is nothing about dental hygiene here. Ipanema is a beach in Rio de Janeiro, and there was a bar about a block from there where the composer Antonio Carlos Jobim and the poet Vinicius de Moraes liked to sit and drink beer. They noticed a lovely 18-year-old girl often walking by on the sidewalk, either down to the beach or home from school (although it’s not clear how they knew where she was going). Her name was Hélo, short for Heloisa Eneida Menezes Pais Pinto. So inspired were they by her loveliness and her way of walking (“sheer poetry,” according to de Moraes) that they wrote the song on the spot, using the traditional manuscript material of bar napkins.

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Mahler Rises to the Occasion with His Resurrection Symphony (No. 2)

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Image by Gerd Altmann from Pixabay

You may think of this blog post as a smorgasbord of information about Mahler’s Symphony No. 2 from which you can pick and choose what seems most relevant to you. Use the table of contents box above or just scroll through and see what catches your eye. The notes for each movement include a link to a corresponding podcast episode from a delightful series called “Embrace Everything.” These episodes are only about 40 minutes long and are packed with goodies. You’ll enjoy them and profit at the same time.

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The Richer, Fuller Story behind “O Love That Will Not Let Me Go” by George Matheson

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George Matheson image in public domain accessed via Wikimedia Commons.

I’m always a little suspicious of what I call “just-so stories,” ones that seem too neat and tidy in drawing straight lines to explain human actions. The “just-so” on the lyrics of “O Love That Will Not Let Me Go” says that George Matheson, a Scotsman living in the mid-1800s, was going blind. He had been at university and engaged to be married, but when he told his fiancé the news of his impending blindness she refused to marry him. So his sister became his housekeeper, assistant, and companion. She helped him with his scholarship as he became a prominent theologian and preacher, even learning Greek and Hebrew so that she could read those texts to him. 20 years later, though, she married. Matheson was heartbroken as he contemplated being alone again, perhaps reliving the rejection he had felt when his fiancé had ended their relationship. Out of his grief he penned the famous four-stanza poem that is the subject of this post.

It could certainly have happened that way, but real life is always messy. For one thing, we have no definitive source about this supposedly unfaithful fiancé, just a few allusions that say he “might have” been involved with a young woman who broke his heart. Here’s what one old hymnbook has to say: “There is a story of how years before, he had been engaged until his fiancé learned that he was going blind, and there was nothing the doctors could do, and she told him that she could not go through life with a blind man.” Not a lot of corroborating detail here, it must be said. And Matheson didn’t suddenly realize that he was going blind; in reality, his vision was never very good and steadily deteriorated over time. While at school he was able to make out texts by the use of a strong magnifying glass and always sat near the front of the classroom in order to see the board. He could see faint outlines and shadows throughout his life, but his poor vision made him almost totally dependent on others for the practicalities of daily life. Although the system of Braille writing for the blind had been invented in 1824, I don’t see any references to his use of it. In spite of these limitations, however, his list of accomplishments would be truly remarkable even for a sighted person. He published books, produced sermons, gave lectures, and even preached before Queen Victoria, all without being able to read or write without the aid of a secretary. His sister, Jane Gray Matheson, filled that role at least until she married, and he gave her credit for her help in his own works.

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Two Hagenberg Hits

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Image by 12019 from Pixabay

My own choir, the Cherry Creek Chorale, has performed quite of few of Elaine Hagenberg’s choral compositions, and we were privileged to be part of the original commissioning consortium for her first extended work, Illuminare. She burst on the classical choral world in 2013 with “I Will Be a Child of Peace,” an arrangement of a Shaker hymn, and hasn’t looked back since. We are now heading towards yet another Hagenberg premiere, her new major work Aeterna Via. We are performing the Colorado premiere on May 8 & 9, and its worldwide introduction will be in Paris this June. If you live in the Denver metro area and would like to attend this very special concert, you can get your tickets here. Below is a two-part post about some other Hagenberg works we’ve performed in the past. “You Do Not Walk Alone” will be a part of this upcoming program in May.

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An Illuminating New Work–Elaine Hagenberg’s “Illuminare”

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A Composer Composes

Image by Stefan Keller from Pixabay

Elaine Hagenberg’s Illuminare burst on the classical choral scene in 2022 with initial performances by member choirs of a commissioning consortium. My own choir, the Cherry Creek Chorale in the Denver area, was privileged to be a part of this group and to perform the work in March 2022. We had the additional privilege of having Ms. Hagenberg on board for our final rehearsal. The composer was a full collaborator that evening, listening and critiquing gently but firmly. She clearly knew exactly how she wanted the piece to sound, and we benefited greatly from her input.  I’m reminded of something that the director of my choir, Brian Patrick Leatherman, said when we started working on the piece: “This is going to be big.” He also said that when he’d been contacted about our participation in the consortium he’d “JUMPED AT!” it. I’d say that his enthusiasm has been fully justified. Illuminare was made available for sale in August 2022 and is now being performed widely all over the world. A gala performance in Paris is scheduled to take place on June 24, 2026; this concert will also include the performance of a new major Hagenberg work. I hope to write about the texts of that composition at some point.

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Paul Simon Borrows from Bach (and Others), Producing Two Masterpieces

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My Own Take on Originality

Interesting question: is anything actually original? John Lennon summed up the answer nicely when he said that 99% of popular music was reminiscent of something which had come before. But it isn’t just popular music—it’s everything. It’s all been done before, or, in the words of Ecclesiastes, “there is nothing new under the sun.” (Which had probably been said before.) So how do we determine the quality of art, if it all builds on the past? Well, it’s complicated, and so much of it is subjective. For instance (don’t judge me here), I have never been all that impressed with the Beatles. Or Bob Dylan. Or, for that matter, Elvis Presley. I just don’t get it, or them. One man’s horrible daub is another man’s inspiration for life. (Did I hear anyone say “Thomas Kinkade”?)

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Aaron Copland Does More than Required for his Old American Songs

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Copland, the Commission, and the Composition

Once again I’m on the hunt for the origins of a famous piece of music. Aaron Copland’s suite of early American tunes was commissioned by none other than Benjamin Britten and was presented at that composer’s newly-launched Aldeburgh Festival in 1950. Britten had developed a keen interest in performing American folk music, at least partly because of his long visit to the US from 1939-1942. While there he and his partner Peter Pears had spent a lot of time with Copland; he said later that Copland was “by far the best American composer.” Perhaps because of Pears’ abilities as a singer, he and Britten regretted the dearth of songs in the Copland catalog. So they decided to do something about that, and in 1950 commissioned a set of American folk songs to be performed at the Festival. Well! Copland dove into this commission head first, only coming up for air after he’d ransacked the sheet-music archives at Brown University for material. He did an enormous amount of work for what turned out to be a set of pieces that together total less than 13 minutes’ worth of performance time. But this wouldn’t be the first time Copland got completely caught up in writing music that he didn’t think would result in much return on his investment; he said about  the ballet music for Appalachian Spring, “It took me about a year to finish and I remember thinking how crazy it was to spend all that time because I knew how short‑lived most ballet scores are, but [it] took on a life of its own.”1

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Virgil Thomson Sets Thomas Campion to Music

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Image access via Wikipedia

Virgil Thomson is right up there in the pantheon of 20th century composers along with Aaron Copland and Benjamin Britten, men whose works he criticized rather harshly and whose greater popularity and success he envied. Alas! Even the greatest artists can have feet of clay. But he had much in common with these other two towering figures, not the least of which was an abiding interest in the proper setting of texts to music. How he ran across the four poems of the Renaissance poet Thomas Campion is unknown; I consulted the only authoritative biography available about him and saw no fascinating backstory such as the one I discovered about Benjamin Britten’s A Ceremony of Carols. Thomson did believe, however, that Campion’s poetry and music displayed the same qualities that he strove for: simplicity and directness, with the music serving the text instead of the other way around.

Campion wrote in various genres, but in these brief lyric poems he typically shows a delicacy of feeling about his subject: an idealized woman. Campion is not writing about real flesh-and-blood females in whom he has a romantic interest but is instead presenting a concept of beauty itself. If you read these poems as descriptions of real romantic relationships you might find them a bit depressing, but the metaphysical realm is always inspiring, I guess. Here one can go haring off into Platonic love and courtly love and the whole nine yards, but I do try to keep these posts somewhat reasonable in length. I will just say that the poet is striving for a certain effect and doesn’t necessarily have any emotional skin in the game. Beyond that it’s impossible to know what was going on in his head as he wrote his poems. He never married, so perhaps he preferred the ideal to the real. As for Thomson, we know his interest in the concept of female beauty was theoretical and not personal, as his romantic pursuits were confined to men.

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