Trionfi de carl orff biography

German composer (1895–1982)

"Orff" redirects current. For other uses, see Pedagogue (disambiguation).

Carl Heinrich Maria Orff (German:[kaʁlˈɔʁf]^ⓘ; 10 July 1895 – 29 March 1982) was a European composer and music educator,^[2] who composed the cantataCarmina Burana (1937).^[3] The concepts of his Schulwerk were influential for children's symphony education.

Life

Early life

Carl Heinrich Region Orff was born in Muenchen on 10 July 1895, blue blood the gentry son of Paula Orff (née Köstler, 1872–1960) and Heinrich Pedagogue (1869–1949). His family was Province and was active in class Imperial German Army; his ecclesiastic was an army officer hint at strong musical interests, and tiara mother was a trained composer.

His grandfathers, Carl von Educator (1828–1905) and Karl Köstler (1837–1924), were both major generals discipline also scholars.^[5][6] His paternal grandma, Fanny Orff (née Kraft, 1833–1919), was Catholic of Jewish pad. His maternal grandmother was Region Köstler (née Aschenbrenner, 1845–1906).

Pedagogue had one sibling, his from the past sister Maria ("Mia", 1898–1975), who married the architect Alwin Seifert (1890–1972) in 1924.

Despite his family's military background, Orff recalled dainty 1970: "In my father's dynasty there was certainly more penalisation making than drilling."^[11] At adjunct five, he began to hurl piano, and later studied fool and organ.

He composed smashing few songs and music defence puppet plays.^[2] He had flash vignettes published in July 1905 in Das gute Kind, honesty children's supplement to Die katholische Familie.^[12] He began attending concerts in 1903 and heard climax first opera (Richard Wagner's The Flying Dutchman) in 1909.

Probity formative concerts he attended star the world premiere of Gustav Mahler's Das Lied von discord Erde in 1911 and Richard Strauss conducting his opera Elektra on 4 June 1914.

In 1910–12, Orff wrote several dozen Lieder on texts by German poets, including the song set Frühlingslieder (Opus 1, text by Ludwig Uhland) and the song series Eliland: Ein Sang von Chiemsee (Opus 12, text by Karl Stieler).

The poet whose gratuitous he most frequently used was Heinrich Heine; he also chose texts of Walther von rove Vogelweide, Princess Mathilde of State (1877–1906), Friedrich Hölderlin, Ludwig Venerable Frankl, Hermann Lingg, Rudolf Baumbach, Richard Beer-Hofmann, and Börries von Münchhausen, among others. Orff's songs fell into the style be in the region of Richard Strauss and other Teutonic composers of the day, however with hints of what would become Orff's distinctive musical words.

Some of his songs were published in 1912. These embrace Eliland, with a dedication communication Karl Köstler, who funded honourableness publication.^[14][a] In 1911–12, Orff wrote Zarathustra (Opus 14), a broad work for baritone voice, join tenor-bass choruses, winds, percussion, harps, pianos, and organ, based attract a passage from Friedrich Nietzsche's philosophical novel Also sprach Zarathustra.^[15][16]

Orff studied at the Munich Institution of Music from 1912 awaiting 1914.^[15][17] Orff later wrote defer his decision to pursue sonata studies instead of completing Gym was the source of parentage strife, as the Orff dean (his father's older brother, further named Karl Orff, 1863–1942) was against the idea.

Orff challenging the support of his indigenous, who persuaded his father, esoteric of his grandfather Köstler. Orff's teacher at the Akademie was the composer Anton Beer-Walbrunn, order whom he later wrote change respect but said that flair found the academy overall resurrect be "conservative and old-fashioned" (konservativ und altväterlich).

At this sicken, he studied the works remind you of Arnold Schoenberg, and one not later than his most important influences kid this time was the Romance composer Claude Debussy. These influences can be heard in government first stage work, the descant drama Gisei: Das Opfer (Gisei: The Sacrifice, Opus 20), turgid in 1913 but not finish until 2010.

Orff's source constituents is a German translation authentication part of Sugawara Denju Tenarai Kagami, specifically "Terakoya" ("The District School") in Act IV. Spontaneous 1914 Orff wrote Tanzende Faune: Ein Orchesterspiel (Opus 21). Picture work was to be ended at the Akademie – his eminent performance by an orchestra – however conductor Eberhard Schwickerath [de] removed on easy street from the program following gargantuan unsuccessful rehearsal; it was precede performed in 1995.

In 1915, he began studying piano bash into Hermann Zilcher. Writing to potentate father, he called the studies with Zilcher his most valiant teacher relationship to date. Walk this time he also came to know theater director Otto Falckenberg, and saw plays through August Strindberg and Frank Wedekind.

World War I

Orff was forced goslow the German Army in Reverenced 1917, which was a ready to step in crisis for him.

In capital letter to his father cautious 3 August 1917, he wrote:

My future lies now finer than ever completely in honourableness dark. That I [shall] test into the battlefield is unqualifiedly certain. Here the decision must, and will, fall (you stockpile that I am free overexert sentimentality): either I find nickel-and-dime end of everything that has pushed and almost crushed turn, or I become a absolutely new person and begin tab a certain sense entirely another.

What must come, should hit entirely better as the central theme that was.^[26]

The coming sadness, he was severely injured delighted nearly killed when a channel caved in, suffering amnesia, aphasia, and paralysis of his left-side. During his difficult recovery, let go wrote to his father:

I certainly never think of promontory that looks like the ...

Since I am hem in the battlefield, all threads arena connections from earlier are swithering to shreds. ... For him who has been out sanctuary once, it is better (especially in my profession) that dirt remains out here. When Hysterical hear music I get palpitations & fever and it assembles me sick; I can't guess at all about when Farcical might be able to catch a concert again, let duck make music myself.

After Orff's death, his daughter wrote mosey she believed this experience "made him think and rebel to the present time more revolutionarily."

Weimar Republic

After recovering escaping his battle injuries, Orff restricted various positions at opera case in Mannheim and Darmstadt, closest returning to Munich to pay court to his music studies.

Around 1920, Orff was drawn to primacy poetry of Franz Werfel, which became the basis for abundant Lieder and choral compositions. Tabled the mid-1920s, he began suck up to formulate a concept he alarmed elementare Musik, or elemental descant, which was based on nobility unity of the arts symbolized by the ancient Greek Muses, and involved tone, dance, metrics, image, design, and theatrical sign.

Like many other composers wink the time, he was mincing by the Russian-French émigré Dilution Stravinsky. But while others followed the cool, balanced neoclassic deeds of Stravinsky, it was shop such as Les noces (The Wedding), an earthy, quasi-folkloric delineation of Russian peasant wedding rites, that appealed to Orff.^[30][31][32]

Orff came to know the work revenue Bertolt Brecht in 1924, which had a profound influence receive him.

The same year, without fear and Dorothee Günther [de] founded primacy Günther-Schule for gymnastics, music, last dance in Munich. He formed his theories of music upbringing, having constant contact with offspring and working with musical beginners. In 1930, Orff published well-ordered manual titled Schulwerk, in which he shares his method virtuous conducting.

He was involved extinct the Schulwerk and its contingent institutions throughout his life, notwithstanding he retired from the Günther-Schule in 1938.

Orff also began adapting musical works of earlier eras for contemporary theatrical presentation, with Claudio Monteverdi and Alessandro Striggio's opera L'Orfeo (1607).

Orff's compressed German version (with Günther's translation), Orpheus, was staged under potentate direction in 1925 in Metropolis, using some of the mechanism that had been used encumber the original 1607 performance, conj albeit several of these were united and had to be replaced. Orff revised the score exceptional few years later; this exchange was first performed in Metropolis in 1929.

Orff's adaptations read early music brought him pull off little money. The passionately declaimed opera of Monteverdi's era was almost unknown in the Decennary, and Orff's production met inert reactions ranging from incomprehension chisel ridicule. He told his intellectual Curt Sachs, who had wounded him to study Monteverdi flourishing supported his Orpheus,^[41] that honesty Munich press was against him: "I am made out have a break be not only a felon of corpses (see Monteverdi), on the contrary also a youth-seducer, who daintily corrupts our good youth condemnation exotic perversities."

Nazi era

Beginning of primacy Third Reich

Orff's relationship with European National Socialism and the Despotic Party has been a concern of considerable debate and examination, sometimes colored by misinformation.^{[45][46][47][48]} Historiographer Michael H.

Kater, whose duct is critical of Orff, still wrote that "Carl Orff's term to many has become equal with fascist art and humanity, frequently by way of fastidious rather cavalier prejudgment."

Orff never husbandly the Party, nor did crystalclear have any leadership position colleague the Third Reich. He was a member of the Reichsmusikkammer, which was required of bolshie musicians in the Third Reich.^[51]

Several of Orff's friends and fellows went into exile between 1933 and 1939, including Sachs charge Leo Kestenberg, the latter penalty whom was an advocate apportion his Schulwerk.^[53] Orff reconnected walk off with several of these exiled colleagues after the war and put over some cases maintained lifelong friendships, as with singer and author Karel Salmon [de], who emigrated stomach the first few months confiscate the Nazi takeover.

Another specified figure is the art clerk Albin von Prybram-Gladona (1890–1974),^[56] whose parents had converted from Hebraism before his birth and who survived multiple incarcerations in attention camps after he fled do France.^[58] Prybram-Gladona testified to Orff's character during the denazification case.

Another important friend to Musician was the German-Jewish musicologist vital composer Erich Katz (1900–1973), who fled in 1939 after put pen to paper incarceration in Dachau. Orff reestablished contact with Katz in 1952, and Katz considered Orff expert valued friend.^[60] Orff wrote a-okay tribute upon Katz's death fashionable the form of a slay addressed to the deceased.

Carmina Burana

Orff's Carmina Burana had its first in Frankfurt on 8 June 1937.

It became very regular in Nazi Germany over blue blood the gentry next few years. Historian Archangel H. Kater wrote that "by 1945" it "[stood] out by reason of the single universally important thought produced during the entire uncluttered of the Third Reich".Oliver Rathkolb, however, has noted that farreaching popular perception has exaggerated glory degree of its importance give somebody no option but to the culture of the Bag Reich, as numerous other entireness received more stagings.

Given Orff's previous lack of commercial go well, the monetary gains from Carmina Burana's acclaim, including a Cardinal RM award from the capability of Frankfurt,^[67] were significant appoint him but the composition, give up its unfamiliar rhythms, was too denounced with racist taunts.^[68]

Ein Sommernachtstraum

Orff was one of numerous Germanic composers under the Nazi system who wrote new incidental punishment for William Shakespeare's A Solstice Night's Dream—in German Ein Sommernachtstraum—after the music of Felix Composer for that play had antique banned.

Orff's version was premier performed on 14 October 1939 in Frankfurt as the do its stuff of a commission through desert city. By his report, misstep had already composed music espousal the play as early kind 1917 and 1927, long a while ago the Frankfurt commission; no means from these earlier (presumably incomplete) versions are extant. Orff's firm had serious reservations about illustriousness project, and Orff's commission was unable to make the basic deadline of the commission, secondary in the reduction of dominion payment from 5,000 RM differ 3,000 RM.

He later known as the 1939 iteration "a compromised (unfortunately printed) version. In substitute of the small onstage garb there was again a hard small opera orchestra, no finer magical percussion, all inexcusable concessions." The composer's discontent, together parley his initial difficulties in structure, sometimes has been interpreted soughtafter least in part as test to pangs of conscience.

Clocksmith Rösch has written of that project: "The autonomy of pick out, which Orff always held tremendously, was only more illusion favoured the dictatorship – and depiction insistence of the composer curled a purely artistic, aesthetic rise inevitably changed under this dispute to a momentous error."

Orff went on to rework his Ein Sommernachtstraum score three times.

Goodness next version was to keep its premiere on 10 Sep 1944, but the closure be useful to all theaters in dire wartime conditions prevented it from ripen. In December 1945, Orff put into words hope for a performance foundation Stuttgart, but when Gottfried von Einem asked him in 1946 about a premiere of that version at the Salzburg Fete, he demurred and responded on the defensive when Einem asked if ethics work had been a commitee from the Third Reich.

Musician made further revisions still, explode this version was first flawless on 30 October 1952 comprise Darmstadt. It also had eminence American performance by Leopold Director at the Empire State Melody Festival on 19 July 1956. Orff revised the score thus far again in 1962; this in response version had its first cabaret on in Stuttgart on 12 March 1964.

Relationship with Kurt Huber

Orff was a friend of Kurt Huber (1893–1943), a professor trim Ludwig Maximilian University, with whom he worked since 1934 pay Bavarian folk music.

Together communicate Orff's Schulwerk associate Hans Bergese (1910–2000),^[85] they published two volumes of folk music as Musik der Landschaft: Volksmusik in neuen Sätzen in 1942.

In December 1942, Huber became a member carry the student resistance movement Weiße Rose (the White Rose).^[88][89] Prohibited was arrested on 27 Feb 1943, condemned to death alongside the Volksgerichtshof, and executed from end to end of the Nazis on 13 July 1943.

By happenstance, Orff dubbed at Huber's house on prestige day after his arrest. Huber's distraught wife, Clara (née Schlickenrieder, 1908–1998), hoped Orff would pardon his influence to help give someone the cold shoulder husband, but Orff panicked repute learning of Kurt Huber's no-win situation, fearing that he was "ruined" (ruiniert).^[91] Clara Huber later voiced articulate she never saw Orff once more also, but there is documentary remains that they had further access.

On at least one dispute, she recalled that Orff abstruse attempted to help her garner through Baldur von Schirach (the highest-ranking Nazi official with whom he came into contact, sports ground whom he met at depth twice^[97]), for which no new to the job evidence has been found. Terminate June 1949, Orff transferred climax rights to Musik der Landschaft to Huber's family.

Shortly later the war, Clara Huber spontaneously Orff to contribute to unblended memorial volume for her husband; he contributed an emotional put to death written directly to Kurt Huber, similar to what he frank for Katz years later. Orff's Die Bernauerin, a project which he completed in 1946 extort which he had discussed observe Huber before the latter's dispatch, is dedicated to Huber's honour.

The final scene of that work, which is about goodness wrongful execution of Agnes Bernauer, depicts a guilt-ridden chorus beggary not to be implicated bland the title character's death.^[103]

Denazification

In stock up March 1946, Orff underwent straight denazification process in Bad Lid at a psychological screening feelings of the Information Control Partitionment (ICD), a department of goodness Office of Military Government, Collective States (OMGUS).

Orff was precise "Grey C, acceptable", which coronate evaluator Bertram Schaffner (1912–2010) careful as for those "compromised descendant their actions during the Totalitarian period but not subscribers denigration Nazi doctrine".^[b]

Some sources report range Orff had been blacklisted a while ago the evaluation, which would suppress prevented him from collecting royalties on his compositions.

According get more recent research by Jazzman Rathkolb, there is no documentation to support this. In Jan 1946, American officer Newell Jenkins (1915–1996) – Orff's former student (with whom he used the unceremonious du), who went on get at have a career as on the rocks conductor^[109] – informed him that sharp-tasting did not need a commission as a composer if unquestionable was not seeking to have an advantage, teach, or otherwise appear skull public.

Jenkins, however, hoped give it some thought Orff would take an Intendant position in Stuttgart, which Educator was considering after initially aphorism no. This would require estimation, and thus Jenkins encouraged Educator to think of how stylishness could prove that he esoteric actively resisted Nazism, as much persons were most highly prized.

Orff turned down the Metropolis position by early March 1946, but Jenkins still insisted Musician undergo an evaluation at illustriousness end of that month. Schaffner's report notes: "Orff does plead for wish a license as 'Intendant' of an opera-house, and states that he has already refused such an offer, because birth work would be primarily executive and not musical.

He make to have permission to spread as guest-conductor." Orff was although a license without any despite his rating of "'Grey C', acceptable", but there admiration no evidence that he conducted in public after the war.

Schaffner believed that the root causes of Nazism included an rudimentary societal rigidity and authoritarianism require Germany, especially as they pertained to fathers in family character and institutions such as blue blood the gentry school and the military.

Queen theories informed his and king colleagues' denazification evaluations. In fillet report on Orff, Schaffner wrote:

O[rff]'s attitudes are not Undemocratic. One of his best players, Prof. Carl [sic] Huber, hash up whom he published "Musik usefulness Landschaft", a collection of people songs, was killed by righteousness Nazis in Munich in 1943.

Nevertheless he was a "Nutzniesser" [i.e., beneficiary] of the Nazis and can at present engrave classified only as "Grey C", acceptable. In view of government antinazi point of view, government deliberate av[o]idance of positions extra honors which he could own had by cooperating with rendering Nazis, he may at smashing future date be reclassified higher.

There is no evidence that Musician was ever reclassified, but on account of his license had no check, this was not necessary.

Characterise Orff's psychological evaluation, Schaffner wrote:

1. A highly gifted, deceitful individual who scored high compete intelligence tests ... Orff decline diplomatic, ingratiating and ingenious. Distant and unob[tr]usive, accustomed to sovereignty and solitude since childhood, unquestionable has steadfastly pursued his occupation as an unattached composer.

Let go has little personal need exhaustive "belonging" to a group, disclose honor or recognition, and prefers to work alone rather by in organizations. He is viciously well-adjusted, purposeful and egocentric.

2. Pedagogue scored highest in his grade on the political attitudes thorny. Psychiatric studies of his ecosystem and development are consistent considerable an antinazi att[i]tude.

On psychical grounds, 353azism was distasteful lookout him; likewise on psychological curtilage, he remained a passive antinazi, and tried to avoid criminal and personal contact bot[h] explore the Nazi movement and to the war.

Some scholars have repaired that Orff deceived his evaluators to some degree.

The differ is that Orff misrepresented person in some instances, but glory Americans had enough information letter assess him fundamentally correctly swallow rate him accordingly. The kill notes some of Orff's 1 support from the cities touch on Frankfurt and Vienna, his disclose in the 1936 Summer Olympiad, and the music for A Midsummer Night's Dream (although interpretation number of its performances was undercounted), which Orff said unwind wrote "from his own covert musical point of view" however "admit[ted] that he chose unsullied unfortunate moment in history tinge write it."

Orff said "that proscribed never got a favorable regard by a Nazi music critic"; however, his work had bent enthusiastically received by audiences courier many critics.^[128] He also whispered that "[h]is great success" was in 1942 with a efficient of Carmina Burana in Reach Scala in Milan, "not mess the auspices of the Agitprop Ministry."^[131] In fact, Orff consequent publicly characterized the second formation of Carmina Burana, which took place in Dresden on 4 October 1940, as the recap of his great success.

Interpretation American evaluators disbelieved Orff's story of his reception in influence Third Reich: "The fact guarantee he was deferred ... on the war is contradictory be introduced to his claim that he was not well thought of insensible the Propaganda Ministry. ... Closure does not give a unpick good [e]xplanation." The report too notes Orff's very sharp showing in income in the try part of the Third Reich.

Surprisingly absent from the report property several factors that Orff could have used in his befriend, notably his associations with Person colleagues as well as dominion own partly Jewish ancestry, ethics latter of which was not ever publicly known while he was alive.

Nor is there woman on the clapham omnibus mention of the potentially ruthless and anti-authoritarian texts in emperor works,^[138] notably the passages pressure Die Kluge (premiere 1943) dump have been identified as much, sometimes even during Orff's duration (including by Carl Dahlhaus).^[140][141]

White Cherry controversy

According to Michael Kater, Pedagogue cleared his name during nobility denazification period by claiming wind he had helped establish illustriousness White Rose resistance movement jagged Germany.

Kater also made regular particularly strong case that Musician collaborated with Nazi German civil service. The source for the Waxen Rose claim was a 1993 interview with Jenkins.^[147] Kater designated his finding as "nothing emit than sensational" (nichts weniger mark out sensationell). The episode was honesty source of considerable strife.^[149][150] Character controversy elicited objections from unite people who had known Musician in their youth during decency Third Reich, one of whom recalled that Jenkins had antique trying to portray Orff tempt a "resistance fighter" (Widerstandskämpfer) remarkable thus believed that Jenkins difficult been the source of magnanimity alleged legend.

A few years following, Viennese historian Oliver Rathkolb disclosed Orff's denazification file, which was distributed to reporters in splendid press conference at the Orff-Zentrum München on 10 February 1999.

In this document, there court case no claim about being principal the White Rose. There comment, however, a reference to Orff's relationship with Huber (see quoted passage under "Denazification"). Orff booming Fred K. Prieberg in 1963 that he was afraid allude to being arrested as an bedfellow of Huber, but made cack-handed claim that he had anachronistic involved in the White Chromatic himself.

In 1960, Orff challenging described similar fears to plug interviewer but explicitly said saunter he was not a end up of the resistance himself.^[154]

Kater's indictment, as he termed it,^[155] in or with regard to the White Rose colored unnecessary of the discourse on Carl Orff in the coming years.^{[156][157][158]} In some instances the altercation focused more on acrimony 'tween those involved.^{[159][160][161]} In Composers give an account of the Nazi Era: Eight Portraits (2000) Kater qualified his in advance accusations to some extent name reviewing the documents that Rathkolb discovered.

Subsequently, however, Kater reiterated his initial claim regarding Educator and the White Rose left out any reference to the de-nazification file.^[163]

While Kater's account has antiquated accepted by some scholars who have investigated the matter new-found, Rathkolb and others have examined the theory that Orff incomplete about being a member celebrate the resistance and found not good enough evidence to believe it, signs there is no solid substantiation outside of Kater's interview darn Jenkins.

Writing in 2021, Siegfried Göllner was not convinced wind the allegation about the Milky Rose lie had been refuted as unambiguously as he matte Rathkolb and Thomas Rösch confidential claimed, but "since the event about the White Rose was never on the record person issued openly by Orff, douse is ultimately irrelevant whether goodness episode reported by Jenkins gain Kater actually took place example was a matter of jumble.

... Kater in any data attached too much significance go-slow the statement of Jenkins."^[167] Put back 1999, at the height lacking the controversy, musicologist Reinhard Cartoonist described the affair as skilful "scholarly cockfight" (wissenschaftlichen Hahnenkampfes), adding: "Far more important than ingenious single fact would be unsullied understanding of [the] connection" academic Orff's life and creativity.^[168]

Personal life

Carl Orff was very guarded restructuring to his personal life.

While in the manner tha asked by the theater expert Carl Niessen [de] to provide dexterous handwritten entry for a gleaning of autobiographies of German composers of the day, for which some of his colleagues wrote as many as three pages, he sent only: "Carl Orff[,] born 1895 in Munich[,] extant there" (Carl Orff[,] geboren 1895 in München[,] lebt daselbst).^[169]

Orff was married four times and difficult to understand three divorces.

His first add-on was in 1920 to rank singer Alice Solscher (1891–1970). Orff's only child, Godela Orff (later Orff-Büchtemann, 1921–2013) was born be at war with 21 February 1921. The coalesce separated about six months name Godela's birth and were divorced officially in 1927.^[170] Godela remained with her father when world-weariness mother moved to Melbourne with respect to pursue her career around 1930.^[172] In 1939, Orff married Gertrud Willert (1914–2000), who had bent his student and who supported a method of music analysis using the Orff-Schulwerk; they divorced in 1953.

By 1952, of course began a relationship with originator Luise Rinser (1911–2002), whom subside married in 1954. In 1955, they moved from Munich give your approval to Dießen am Ammersee. Their wedlock was troubled and ended speedy divorce in 1959, by which time Orff was living smash the person who would junction his next wife.^[176] Orff's valedictory marriage, which lasted to interpretation end of his life, was with Liselotte Schmitz (1930–2012), who had been his secretary, move who after his death on his legacy in frequent capacity with the Carl-Orff Stiftung.

They married in Andechs interchange 10 May 1960.

Born to holy Roman Catholic parents, Orff downandout from religious dogma at marvellous young age. His daughter discomfited his break from the cathedral to the suicide of straight classmate, and she reported depart he did not have in return baptized.^[179] Gertrud Orff said desert "he never went to church; to the contrary.

It was probably the time of central rebellion against things like rove. ... He was a metaphysical person, yes. But not organized person of the church." Nonetheless, he wanted to be hidden in the Baroque church worm your way in the beer-brewing Benedictine priory wages Andechs, southwest of Munich; crystal-clear could see this monastery devour his home in Dießen.^[182]

Orff difficult to understand no desire to follow bring his family's military tradition, smooth as a child.

He late wrote: "My father [Heinrich Orff] knew that everything soldierly take place far from me and saunter I could not warm nowin situation to it." According to Godela Orff, the composer's parents "nevertheless always remained lovingly inclined think of him, even when his keep out of life did not proper their expectations", and Orff subject his sister "were watched donate and supported with loving tolerance."^[184] She also wrote that kill father's mother, Paula Orff, every time fostered her son's creativity predominant gave him "the gift foothold inspiration".

Orff himself wrote break into his mother: "From time fixed I was a real mother's boy. In life's serious extremity most difficult situations she traditional me deeply with her electronic post, even if her ideas, forcibly set in tradition, stood engage the way of it."^[186] Paula Orff died on 22 July 1960, after which Orff's ally Karl Amadeus Hartmann wrote add up to him: "I know how warmly fully bonded you were with your mother, similar to me liking mine, and can therefore enormously sympathize with the entire heft of the loss."

Godela Pedagogue described her relationship with throw away father as having been problematic at times.^[188] "He had fulfil life and that was that", she tells Tony Palmer cut the documentary O Fortuna.^[189][190] Their association became especially strained in righteousness late 1940s; they reconciled almost the early 1970s.^[191]

Death

Orff died go rotten cancer in Munich on 29 March 1982, at the search of 86.^[3] He is in the grave in the Andechs Abbey.

Sovereign tombstone bears the Latin lettering Summus Finis (the Ultimate End), taken from the end surrounding his last work, De temporum fine comoedia.

Works

Carmina Burana

Orff commission best known for Carmina Burana (1936), a "scenic cantata". Take in is the first part vacation a trilogy that also includes Catulli Carmina and Trionfo di Afrodite.

Carmina Burana reflects ruler interest in medieval German versification. The trilogy as a uncut is called Trionfi, or "Triumphs". The work is based interest thirteenth-century poetry found in skilful manuscript dubbed the Codex latinus monacensis found in the Benedictinemonastery of Benediktbeuern in 1803 courier written by the Goliards; that collection is also known likewise Carmina Burana.

While "modern" coop some of his compositional techniques, Orff was able to be acquainted with the spirit of the knightly period in this trilogy. Nobleness medieval poems, written in Emotional and an early form be more or less German, are a lament travel the cruel indifference of life (the brief opening and latest sections of Orff's work put in order titled "Fortuna Imperatrix Mundi", one, "Fortune, Ruler of the World").

The chorus that opens playing field concludes Carmina Burana, "O Fortuna", is often used to indicate primal forces, for example concentrated the Oliver Stone film The Doors.^[193] The work's association comprehend fascism also led Pier Paolo Pasolini to use the step up "Veris leta facies" to chaperon the concluding scenes of crucify and murder in his in reply film Salò, or the Cardinal Days of Sodom.^[194] Pasolini was concerned with the question influence art being appropriated by rout when he made the release, which has relevance to Orff's situation.

Relationship to pre-Carmina Burana works

Orff often said that, following graceful dress rehearsal for Carmina Burana, he told his publisher prestige following: "Everything that I have to one`s name written up until now give orders to that you, unfortunately, have printed you now can pulp.

Interchange Carmina Burana begins my controlled works."^[196][c] Michael H. Kater has called this statement into unquestionably, citing a lack of pic evidence and the continuation look up to performances of Orff's previous entirety after the premiere of Carmina Burana, although in fact cap of these performances used revised versions.^[198][199] Orff eventually qualified consummate oft-repeated statement: "So I difficult to understand said this thoughtlessly, con leggerezza [i.e.

"lightly"]: a remark ramble, as I well knew, was true and also not accurate. I only wanted to draw attention to with it the meaning guarantee the Carmina Burana held distort my creations up to ditch point, as was clear exhaustively me myself." When asked make happen the quotation in 1975, Musician replied: "For the first as to I had done exactly what I wanted, and I along with knew that I had prearranged it right.

Really there interest nothing more to say."^[201] Pedagogue went on to revise spend time at of his earlier works, spell later in his career forbidden reissued some of his pre-Carmina Burana compositions with minimal revisions. One of his final publications was a volume of songs he had composed between 1911 and 1920.^[202]

After World War II

Most of Orff's later works – Antigonae (1949), Oedipus der Tyrann [de] (Oedipus the Tyrant, 1959), Prometheus desmotes (Prometheus Bound, 1968), nearby De temporum fine comoedia (Play on the End of Times, 1973) – were based put on the air texts or topics from age.

They extend the language healthy Carmina Burana in interesting steadfast, but they are expensive alongside stage and (on Orff's reduction characterization) are not operas confine the conventional sense.^[203] Live measure of them have been scarcely any, even in Germany.

In a character dated 8 January 1947 generate his student Heinrich Sutermeister, Pedagogue called Die Bernauerin "the person's name piece in the series near my earlier work; Antigonae inchmeal a new phase."Antigonae is precise setting of Friedrich Hölderlin's transliteration of the play by Playwright.

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Orff cardinal became interested in this root material shortly after his bowl over in World War I snowball began planning his work new in 1940. The premiere took place on 9 August 1949 at the Salzburg Festival. Educator followed Antigonae with Oedipus distress Tyrann, also using Hölderlin's rendering of Sophocles's play, and Prometheus, using the original language show signs of the Greek play attributed concern Aeschylus.

Their premieres took intertwine in Stuttgart, respectively in 1959 and 1968, conducted by Ferdinand Leitner. All three of integrity Greek tragedies make no cuts or alterations to the texts.

The Greek tragedies are scored espouse highly unusual ensembles centered jacket large percussion ensembles, which embrace non-Western instruments and numerous strike instruments (including lithophone), and many pianos (four in Prometheus talented six in the other two); the traditional string section silt dispensed with excepting nine contrabasses.

They also have six flutes and six oboes (with diverse auxiliary doublings of piccolo, low flute, and English horn), chimp well as trumpets (six require Antigonae and Prometheus; eight deduct Oedipus der Tyrann, behind nobility scene). Oedipus der Tyrann extort Prometheus also have six trombones and organ. All three activity also have four harps; more is additionally mandolin in Oedipus der Tyrann and four gist banjos in Prometheus.

Consequent the premiere of Prometheus, Everett Helm wrote:

Orff does classify make things easy for either singers or audience. But rendering retention of the original words undoubtedly evoked a mood much as could not have bent created by a modern language.

"Prometheus" is not an opera deception the usual sense.

Like vex works by Orff, it psychoanalysis music theater in which magnanimity music is part of, service subordinated to, the dramatic taken as a whole. The voices declaim almost day out – either in spoken pulse or in a kind reproduce psalmodic recitative. Only occasionally (and most effectively) does the bald psalmody give way to melismas that recall the more fancy passages of Gregorian chant.

Regarding is no semblance of arias or concerted numbers.

... Brief interludes in the orchestra have picture character of interjections. There evaluation no development, either musical gathering psychological. The huge blocks commandeer sound produce a static, motionless form and atmosphere ... Rectitude makeup of the orchestra ...

produces, hard, metallic sounds, fiercely driven by primitive ostinato rhythms. The whole effect is basic to a degree, but whitehead no sense naive. Orff's stylised primitivism masks a high proportion of sophistication.^[208]

Orff's final work suffer privation the stage, De temporum frail comoedia (Play on the Espousal of Times), had its first night at the Salzburg Festival business 20 August 1973, performed tough Herbert von Karajan and integrity WDR Symphony Orchestra Cologne reprove Chorus.

It has a ample cast and similar scoring detonation the Greek tragedies with fiercely exceptions, notably clarinetists (all area E-flat clarinets) instead of oboists and the addition of contrafagotto, horns, and tuba. Thomas Rösch has called this work "in many respects the summation considerate [Orff's] entire work." There even-handed no evidence Orff considered calligraphy another stage work after De temporum fine comoedia, and look onto 1979 he told an interlocutor he was certain it was the end (Schluß) of enthrone composition.^[210] In this highly exceptional work, Orff presented a secrecy play, sung in Greek, European, and Latin, in which without fear summarized his view of probity end of time.

His conclusions draws from many religious criterion criteria, primarily Origen's idea of apocatastasis. De temporum fine comoedia too makes numerous references to Orff's previous compositions, notably Die Bernauerin. Around the time of blue blood the gentry premiere, he said that reward works are "as with be over onion: one layer follows representation others." On the same chance, he said of De temporum fine comoedia: "It is drain a dream, only a vision.

Pessimistic, optimistic, as anyone wants."^[214]

Pedagogic works

In pedagogical circles he research paper probably best remembered for climax Schulwerk ("School Work"). Originally neat set of pieces composed gift published for the Güntherschule (which had students ranging from 12 to 22),^[215] this title was also used for his books based on radio broadcasts rework Bavaria in 1949.

These unnerve are collectively called Musik für Kinder (Music for Children), folk tale also use the term Schulwerk, and were written in association with his former pupil, author and educator Gunild Keetman (1904–1990), who actually wrote most reminisce the settings and arrangements lineage the "Musik für Kinder" ("Music for Children") volumes.

Orff's gist were developed, together with Gunild Keetman, into a very strange approach to music education be thankful for children, known as the Educator Schulwerk. The music is central and combines movement, singing, gig, and improvisation.

Gassenhauer, Hexeneinmaleins, be first Passion, which Orff composed pick up again Keetman, were used as thesis music for Terrence Malick's husk Badlands (1973).

List of compositions

Carl Orff's publisher is Schott Music.^[216]

I. Concert and Stage Works^[d]

Stage totality

• Gisei: Das Opfer, Opus 20, libretto adapted by Orff use Terakoya, a portion of Sugawara Denju Tenarai Kagami in conversion by Karl Florenz [de] (1913, open 30 January 2010)
• Incidental music aim for Georg Büchner's play Leonce deal Lena (1918–19), unpublished and inimitable partially extant (manuscript in Orff-Zentrum München)
• Lamenti (first performed as run on 15 May 1958)
  • Klage der Ariadne, reshaping of rendering lament from Claudio Monteverdi obscure Ottavio Rinuccini's L'Arianna, German passage by Orff (1925, premiere 16 April 1925; reworked 1940)
  • Orpheus, reshaping of Claudio Monteverdi and Alessandro Striggio's L'Orfeo, German text stop Dorothee Günther (1922–1925, premiere 17 April 1925; reworked 1929 title 1940)
  • Tanz der Spröden, reshaping loosen Monteverdi and Rinuccini's Il ballo delle ingrate, German text via Günther (1925, premiere 28 Dec 1925; reworked 1940)
• Trionfi.

  Trittico teatrale (premiere 14 February 1953)

  • Carmina Burana. Cantiones profanae cantoribus side of the road choris cantandae comitantibus instrumetis atque imaginibus magicis, texts from Carmina Burana codex (1934–1936, premiere 8 June 1937)
  • Catulli Carmina. Ludi scaenici, texts by Orff (Praelusio tell off Exodium) and Catullus (Actus I–III), incorporating material from Catulli Carmina I choruses (1941–1943, premiere 6 November 1943)
  • Trionfo di Afrodite.

    Concerto scenico, texts by Sappho, Poet, and Euripides (1947–1951, premiere 14 February 1953)

• Märchenstücke (Fairy tales)
  • Der Mond, libretto by Orff equate the Brothers Grimm (1936–1938, first showing 5 February 1939; reworked 1940, 1942, 1946, 1957, 1970)
  • Die Kluge, libretto by Orff after description Brothers Grimm (1941–1942, premiere 20 February 1943)
  • Ein Sommernachtstraum, incidental punishment to play by William Shakspere in translation by August Wilhelm Schlegel (drafts 1917 and 1927–1928; completed version 1938–1939, premiere 14 October 1939; reworked 1943–44 (unperformed); reworked 1952, premiere 30 Oct 1952; reworked 1962, premiere get on to final version 12 March 1964)
• Bairisches Welttheater (Bavarian world theatre)
• Theatrum Mundi
  • Antigonae, setting of Sophocles's play in translation by Friedrich Hölderlin (1940–1949, premiere 9 Lordly 1949)
  • Oedipus der Tyrann [de], setting stencil Sophocles's play in translation unreceptive Hölderlin (1951–58, premiere 11 Dec 1959)
  • Prometheus, setting of play attributed to Aeschylus in original Hellenic (1960–67, premiere 24 March 1968)
  • De temporum fine comoedia (1970–71, first performance 20 August 1973; reworked 1979 and 1981)

Vocal works

• Choral peer instruments
  • Zarathustra, Opus 14 book baritone soloist, three tenor-bass choruses, ensemble, and organ on texts of Nietzsche (1911–1912), unpublished (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms.

    43 and Orff.ms. 44)

  • Treibhauslieder, Traumspiel on texts of Maurice Maeterlinck (1913–14), drafted but indication largely destroyed by composer (surviving sketches in Orff-Zentrum München)
  • Des Turmes Auferstehung for tenor-bass chorus, stripe, and organ on texts wedge Franz Werfel (1920–21, premiere 6 December 1995)
  • Werkbuch I – cantatas on texts of Franz Writer ^[e]
    • I.

      Veni creator spiritus production chorus, pianos, and percussion (premiere 7 October 1930; revised 1968)

    • II. Der gute Mensch for troupe, pianos, and percussion (premiere 11 October 1930; revised 1968)
    • III. Fremde sind wir for chorus, violins, and contrabasses; reworked version propound chorus and pianos (premiere 10 July 1935; reworked 1968)
  • Werkbuch II – cantatas on texts a choice of Bertolt Brecht for chorus, pianos, and percussion (1930–1931, reworked 1968–1973)
    • I.

      Von der Freundlichkeit collect yourself Welt (first published 1973, debut 19 March 1979)

    • II. Vom Frühjahr, Öltank, und vom Fliegen (first published 1932, premiere 11 July 1965; revised 1968)
  • Dithyrambi for crossbred chorus and instruments on texts of Friedrich Schiller
    • I.

      Die Sänger der Vorwelt (1955, premiere 3 August 1956; reworked 1981)

    • II. Nänie und Dithyrambe (1956, premiere 4 December 1956; reworked 1981)
  • Rota shadow children's chorus, mixed chorus, be proof against instruments on traditional old Straightforwardly text "Sumer is icumen in" (1972, premiere 26 August 1972 at opening ceremonies of nobility 1972 Summer Olympics)
  • Sprechstücke for tubthumper, spoken chorus, and percussion arraignment anonymous texts and texts shy Bertolt Brecht (1976)
• Vocal a cappella
  • "Der sinnende Storch", Op.

    7 for SATB vocal quartet tell text of Franz Josef Stritt (1911), unpublished (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms. 30)

  • Ave Maria for mixed chorus (ca. 1912–1914, premiere 23 July 1982)
  • Cantus-Firmus-Sätze I: Zwölf alte Melodien für Singstimmen oder Instrumente (1925–1932, crowning published in 1932; republished unimportant 1954 without Nos.

    6 predominant 7)

  • Catulli Carmina I, seven movements for mixed chorus on texts by Catullus (1930, published 1931; six movements incorporated into Catulli Carmina: Ludi scaeni; the overturn republished in 1979 as "Lugete o veneres")
  • Catulli Carmina II, yoke movements for mixed chorus treatise texts by Catullus (1931, in print 1932), revised and republished trade in Concento di voci I: Sirmio, Tria Catulli Carmina (1954)
  • Concento di voci II: Laudes creaturarum: Quas fecit Beatus Franciscus ad Laudem et Honorem Dei for eight-part mixed chorus on text avail yourself of Francis of Assisi (1954, first 21 July 1957)
  • Concento di voci III: Sunt lacrimae rerum.

    Cantiones seriae for tenor-bass chorus; texts of the three movements mutatis mutandis by Orlando di Lasso, differ Ecclesiastes 3, and anonymous (1956, premiere 21 July 1957)

• Solo words decision
  • With Piano^[222]
  • Note: A publication recall Orff's songs from 1910 stumble upon 1920 is in preparation.

    One and only a few of the consequent were published around the at this point of their composition; the print house was Ernst Germann & Co. (see below for Opp. 12, 13 No. 3, 15, 17, and 18 No. 1). In 1975, Orff selected suitable to be printed in Carl Orff und sein Werk: Dokumentation, Vol. 1; in 1982, crest of these were published invite a score intended for performance.^[224]

    • Early songs without opus number: "Altes Weihnachtslied (Es ist ein Ros entsprungen)"; "Winternacht", text by Patriarch Eichendorff; "Der einsame Fichtenbaum", paragraph by Heinrich Heine; "Die Libido vergeht, Die Lilie", text saturate Mathilde von Bayern; "Das weiß ich genau" (Volksweise); "Mein süßes Lieb"
    • Frühlingslieder for soprano or tone, Opus 1 (1911), texts make wet Ludwig Uhland
    • 9 Lieder for loaded or tenor, Opus 2 (1910–11), texts by Mathilde von Bayern (Nos.

      1 and 2), Gustav Renner (No. 3), Nikolaus Lenau (No. 4), Adolf Friedrich Graf von Schack [de] (No. 5), Julius Mosen (No. 6), Rudolf Baumbach (No. 7), Detlev von Liliencron (No. 8), Friedrich Hölderlin (No. 9)

    • 3 Lieder for Alto contract Baritone, Opus 3 (1911), texts by August Kalkoff (No. 1), Theodor Storm (No.

      2), Hermann Lingg (No. 3)

    • "Die Wallfahrt nach Kevlaar" for low voice, Production 4 (1911), text by Heinrich Heine
    • "Zlatorog" for low voice, Oeuvre 5 (1911), text by Rudolf Baumbach
    • 2 Lieder, Opus 6 (1911): No. 1 for baritone, subject by Ludwig August Frankl; Pollex all thumbs butte. 2 for low voice, words by Richard Beer-Hofmann
    • 5 Lieder own soprano, Opus 8 (1910–11), texts by Theodor Storm (No.

      1), Hermann Lingg (No. 2), Mathilde von Bayern (No. 3), Hermann Vogel (No. 4), Hans Mayr (No. 5)

    • 6 Lieder for mood, Opus 9 (1911), texts fail to see Börries von Münchhausen (No. 1), Heinrich Heine (Nos. 2, 3, 4, and 6), Semper (No. 5; text unidentified, possibly outdo Ernst Leberecht Semper)
    • 3 Lieder, 1 10 (1911), texts by Heinrich Heine (No.

      1), by Wilhelm Hertz (No. 2), and differ Friedrich Fischbach's edition of Cocoyam (No. 3)

    • 3 Lieder, Opus 11 (1911), texts by Oskar von Redwitz (No. 1), from Friedrich Nietzsche's Also sprach Zarathustra (No. 2), and by Ernst Moritz Arndt (No. 3)
    • Eliland: Ein Intone von Chiemsee, song cycle, Composition 12 (1911, published 1912), contents by Karl Stieler
    • 3 Lieder, Work 13 (1911; No.

      3 promulgated in 1912 as Opus 13), texts by Heinrich Heine (Nos. 1 and 2) and Failure Haushofer Jr. [de] (No. 3)

    • "Des Herzen Slüzzelin", Op. 15 (1912, in print same year)
    • Lieder, Opus 17 (1912, published that same year), texts by Martin Greif (No. 1) and from Paul Heyse's translations of Tuscan folksongs (No. 2, comprising three individual songs)
    • 4 Lieder, Opus 18 (1912; No.

      1 published that same year), texts by Börries von Münchhausen

    • 2 Lieder, Opus 19 (1912), texts stomach-turning Walther von der Vogelweide
    • 2 Lieder for High Voice (1919): "Bitte", text by Nikolas Lenau; "Mein Herz ist wie ein Regulate so weit", text by Friedrich Nietzsche
    • 3 Lieder for High Expression on texts by Klabund (1919): "Zwiegespräch", "Blond ist mein Haar", "Herr, ich liebte"
    • The First 5 Lieder und Gesänge on Texts by Franz Werfel (1920): "Als mich dein Wandeln", "Rache", "Ein Liebeslied", "Mondlied eines Mädchens", "Der gute Mensch" (of these, "Ein Liebeslied" and "Der gute Mensch" incorporated into Werkbuch I; mark Choral Works)
    • The Second 5 Lieder und Gesänge on Texts wishywashy Franz Werfel (1920): "Lächeln, Atmen, Schreiten", "Litanei eines Kranken", "Nacht", "Fremde sind wir", "Veni initiator spiritus" (all incorporated into Werkbuch I; see Choral Works)
  • With Combo unite
    • Orchestral version of 4 Lieder, Opus 18 (1912), unpublished (manuscript at Bayerische Staatsbibliothek, Orff.ms.

      41 and 42); see under "Solo Voice – With Piano"

    • 3 Lieder for Tenor and Orchestra spell texts of Richard Dehmel (1919), unpublished (manuscript at Bayerische Staatsbibliothek, Musiklesesaal, Orff.ms. 9 and Orff.ms.10)

Instrumental

• Orchestral
  • Tanzende Faune: Ein Orchesterspiel, Opus 21 (1914, premiere 6 December 1995)
  • Entrata for large strip in five antiphonal groups, make something stand out "The Bells" by William Composer (1539–1623) (1928, premiere 1930; stereotyped 1940, premiere 28 February 1941)
• Ensemble
  • Kleines Konzert nach Lautensätzen aus dem 16.

    Jh., after fade away works by Vincenzo Galilei, Jean-Baptiste Besard, and anonymous (1927, first performance 11 December 1928; reworked 1937 and 1975)

• Chamber
  • Quartettsatz in Uneasy minor for string quartet, Magnum opus 22 (ca. 1914, premiere 5 July 1989)
  • Quartettsatz in C smaller for string quartet (1921, first night 18 October 2007)
  • Präludium und Kanon for four viols and harpsichord (ca.

    1923), unpublished; Kanon after used at the end slant De temporum fine comoedia

• Solo Soft
  • Tonbild nach Andersen, Opus 16 (1912), unpublished (manuscript at Bayerische Staatsbibliothek, Musiklesesaal, Orff.ms. 39)

II. Revelatory Works

Notes and references

References