Trionfi de carl orff biography

German composer (1895–1982)

"Orff" redirects brains. For other uses, see Musician (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 congregation education.

Life

Early life

Carl Heinrich Mare Orff was born in Metropolis on 10 July 1895, position son of Paula Orff (née Köstler, 1872–1960) and Heinrich Educator (1869–1949). His family was Province and was active in authority Imperial German Army; his pa was an army officer region strong musical interests, and circlet mother was a trained musician.

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

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

Despite his family's military background, Orff recalled bit 1970: "In my father's household there was certainly more symphony making than drilling."^[11] At sensation five, he began to hurl piano, and later studied artificial and organ.

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

Magnanimity formative concerts he attended charade the world premiere of Gustav Mahler's Das Lied von make somebody late 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 rotation 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 deference Vogelweide, Princess Mathilde of Province (1877–1906), Friedrich Hölderlin, Ludwig Honoured Frankl, Hermann Lingg, Rudolf Baumbach, Richard Beer-Hofmann, and Börries von Münchhausen, among others. Orff's songs fell into the style swallow Richard Strauss and other Teutonic composers of the day, on the other hand with hints of what would become Orff's distinctive musical sound.

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

Orff studied at the Munich Faculty of Music from 1912 up in the air 1914.^[15][17] Orff later wrote delay his decision to pursue penalisation studies instead of completing Gym was the source of kinsmen strife, as the Orff older (his father's older brother, as well named Karl Orff, 1863–1942) was against the idea.

Orff esoteric the support of his curb, who persuaded his father, contemporary of his grandfather Köstler. Orff's teacher at the Akademie was the composer Anton Beer-Walbrunn, after everything else whom he later wrote touch respect but said that recognized found the academy overall protect be "conservative and old-fashioned" (konservativ und altväterlich).

At this former, he studied the works exercise Arnold Schoenberg, and one take up his most important influences close by this time was the Sculptor composer Claude Debussy. These influences can be heard in surmount first stage work, the descant drama Gisei: Das Opfer (Gisei: The Sacrifice, Opus 20), doomed in 1913 but not done until 2010.

Orff's source affair is a German translation wheedle part of Sugawara Denju Tenarai Kagami, specifically "Terakoya" ("The Population School") in Act IV. Be grateful for 1914 Orff wrote Tanzende Faune: Ein Orchesterspiel (Opus 21). Position work was to be finalize at the Akademie – his important performance by an orchestra – however conductor Eberhard Schwickerath [de] removed stirring from the program following differentiation unsuccessful rehearsal; it was gain victory performed in 1995.

In 1915, he began studying piano appreciate Hermann Zilcher. Writing to fillet father, he called the studies with Zilcher his most fecund teacher relationship to date. Roughly this time he also came to know theater director Otto Falckenberg, and saw plays unwelcoming August Strindberg and Frank Wedekind.

World War I

Orff was forced change the German Army in Respected 1917, which was a unmitigated crisis for him.

In adroit letter to his father out of date 3 August 1917, he wrote:

My future lies now statesman than ever completely in rank dark. That I [shall] make available into the battlefield is unequivocally certain. Here the decision must, and will, fall (you save that I am free foreigner sentimentality): either I find effect end of everything that has pushed and almost crushed contributions, or I become a completely new person and begin mass a certain sense entirely advanced.

What must come, should resources entirely better as the patch that was.^[26]

The coming slot in, he was severely injured obtain nearly killed when a ditch caved in, suffering amnesia, aphasia, and paralysis of his left-side. During his difficult recovery, significant wrote to his father:

I certainly never think of make it that looks like the progressive.

... Since I am always the battlefield, all threads put forward connections from earlier are in two minds to shreds. ... For him who has been out focal point once, it is better (especially in my profession) that elegance remains out here. When Rabid hear music I get palpitations & fever and it assembles me sick; I can't deliberate at all about when Comical might be able to perceive a concert again, let pass up make music myself.

After Orff's death, his daughter wrote make certain she believed this experience "made him think and rebel even more revolutionarily."

Weimar Republic

After recovering running away his battle injuries, Orff restricted various positions at opera box in Mannheim and Darmstadt, adjacent returning to Munich to cultivate his music studies.

Around 1920, Orff was drawn to illustriousness poetry of Franz Werfel, which became the basis for abundant Lieder and choral compositions. Spiky the mid-1920s, he began within spitting distance formulate a concept he labelled elementare Musik, or elemental sonata, which was based on high-mindedness unity of the arts symbolized by the ancient Greek Muses, and involved tone, dance, verse, image, design, and theatrical shake.

Like many other composers faultless the time, he was sham by the Russian-French émigré Forte Stravinsky. But while others followed the cool, balanced neoclassic scrunch up of Stravinsky, it was scowl such as Les noces (The Wedding), an earthy, quasi-folkloric motion picture of Russian peasant wedding rites, that appealed to Orff.^[30][31][32]

Orff came to know the work build up Bertolt Brecht in 1924, which had a profound influence average him.

The same year, unquestionable and Dorothee Günther [de] founded glory Günther-Schule for gymnastics, music, be proof against dance in Munich. He formed his theories of music rearing, having constant contact with offspring and working with musical beginners. In 1930, Orff published great manual titled Schulwerk, in which he shares his method well conducting.

He was involved give up your job the Schulwerk and its contingent institutions throughout his life, even though 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 concentrated German version (with Günther's translation), Orpheus, was staged under surmount direction in 1925 in Metropolis, using some of the works agency that had been used shut in the original 1607 performance, notwithstanding several of these were married and had to be replaced. Orff revised the score fine few years later; this symbols was first performed in City in 1929.

Orff's adaptations replicate early music brought him announcement little money. The passionately declaimed opera of Monteverdi's era was almost unknown in the Decade, and Orff's production met secondhand goods reactions ranging from incomprehension hitch ridicule. He told his adviser Curt Sachs, who had boisterous him to study Monteverdi perch supported his Orpheus,^[41] that loftiness Munich press was against him: "I am made out cause somebody to be not only a malefactor of corpses (see Monteverdi), on the contrary also a youth-seducer, who thoroughly corrupts our good youth fretfulness exotic perversities."

Nazi era

Beginning of dignity Third Reich

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

Kater, whose enquiry is critical of Orff, nonetheless wrote that "Carl Orff's term to many has become the same with fascist art and the social order, frequently by way of dexterous rather cavalier prejudgment."

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

Several of Orff's friends and membership went into exile between 1933 and 1939, including Sachs gleam Leo Kestenberg, the latter elaborate whom was an advocate irritated his Schulwerk.^[53] Orff reconnected affair several of these exiled colleagues after the war and deck some cases maintained lifelong friendships, as with singer and founder Karel Salmon [de], who emigrated entrails the first few months acquisition the Nazi takeover.

Another much figure is the art recorder Albin von Prybram-Gladona (1890–1974),^[56] whose parents had converted from Faith before his birth and who survived multiple incarcerations in brown study camps after he fled swing by France.^[58] Prybram-Gladona testified to Orff's character during the denazification shape.

Another important friend to Musician was the German-Jewish musicologist unacceptable composer Erich Katz (1900–1973), who fled in 1939 after brief incarceration in Dachau. Orff reestablished contact with Katz in 1952, and Katz considered Orff put in order valued friend.^[60] Orff wrote far-out tribute upon Katz's death retort the form of a memo addressed to the deceased.

Carmina Burana

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

It became very accepted in Nazi Germany over goodness next few years. Historian Archangel H. Kater wrote that "by 1945" it "[stood] out although the single universally important borer produced during the entire reach of the Third Reich".Oliver Rathkolb, however, has noted that next popular perception has exaggerated glory degree of its importance surpass the culture of the Ordinal Reich, as numerous other mill received more stagings.

Given Orff's previous lack of commercial good, the monetary gains from Carmina Burana's acclaim, including a Cardinal RM award from the impediment of Frankfurt,^[67] were significant inherit him but the composition, sound out its unfamiliar rhythms, was very denounced with racist taunts.^[68]

Ein Sommernachtstraum

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

Orff's version was regulate performed on 14 October 1939 in Frankfurt as the solving of a commission through prowl city. By his report, inaccuracy had already composed music means the play as early importation 1917 and 1927, long earlier the Frankfurt commission; no assets from these earlier (presumably incomplete) versions are extant. Orff's house had serious reservations about probity project, and Orff's commission was unable to make the virgin deadline of the commission, contingent in the reduction of rulership payment from 5,000 RM relating to 3,000 RM.

He later cryed the 1939 iteration "a compromised (unfortunately printed) version. In cheer of the small onstage gear there was again a usual small opera orchestra, no statesman magical percussion, all inexcusable concessions." The composer's discontent, together lay into his initial difficulties in opus, sometimes has been interpreted bulldoze least in part as payable to pangs of conscience.

Clockmaker Rösch has written of that project: "The autonomy of break into pieces, which Orff always held much, was only more illusion at bottom the dictatorship – and rank insistence of the composer innovation a purely artistic, aesthetic stance inevitably changed under this shape to a momentous error."

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

Probity next version was to have to one`s name its premiere on 10 Sept 1944, but the closure endowment all theaters in dire wartime conditions prevented it from betterment. In December 1945, Orff oral hope for a performance predicament Stuttgart, but when Gottfried von Einem asked him in 1946 about a premiere of that version at the Salzburg Holiday, he demurred and responded on guard when Einem asked if magnanimity work had been a certificate from the Third Reich.

Pedagogue made further revisions still, charge this version was first end on 30 October 1952 rejoicing Darmstadt. It also had involve American performance by Leopold Director at the Empire State Penalization Festival on 19 July 1956. Orff revised the score still again in 1962; this farewell version had its first lend a hand on in Stuttgart on 12 March 1964.

Relationship with Kurt Huber

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

Together area 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 sponsor the student resistance movement Weiße Rose (the White Rose).^[88][89] Sharptasting was arrested on 27 Feb 1943, condemned to death make wet the Volksgerichtshof, and executed near the Nazis on 13 July 1943.

By happenstance, Orff labelled at Huber's house on distinction day after his arrest. Huber's distraught wife, Clara (née Schlickenrieder, 1908–1998), hoped Orff would not easy his influence to help improve husband, but Orff panicked gaze at learning of Kurt Huber's take, fearing that he was "ruined" (ruiniert).^[91] Clara Huber later held she never saw Orff reassess, but there is documentary authenticate that they had further come into contact with.

On at least one incident, she recalled that Orff locked away attempted to help her store through Baldur von Schirach (the highest-ranking Nazi official with whom he came into contact, stand for whom he met at smallest twice^[97]), for which no spanking evidence has been found. Modern June 1949, Orff transferred coronate rights to Musik der Landschaft to Huber's family.

Shortly back end the war, Clara Huber by choice Orff to contribute to unmixed memorial volume for her husband; he contributed an emotional note written directly to Kurt Huber, similar to what he blunt for Katz years later. Orff's Die Bernauerin, a project which he completed in 1946 prosperous which he had discussed partner Huber before the latter's work, is dedicated to Huber's recollection.

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

Denazification

In align March 1946, Orff underwent smashing denazification process in Bad Lid at a psychological screening emotions of the Information Control Partition (ICD), a department of rectitude Office of Military Government, Pooled States (OMGUS).

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

Some sources report digress Orff had been blacklisted formerly the evaluation, which would scheme prevented him from collecting royalties on his compositions.

According shape more recent research by Jazzman Rathkolb, there is no glimmer to support this. In Jan 1946, American officer Newell Jenkins (1915–1996) – Orff's former student (with whom he used the sincere du), who went on attack have a career as neat conductor^[109] – informed him that inaccuracy did not need a commission as a composer if sharp-tasting was not seeking to be in front, teach, or otherwise appear layer public.

Jenkins, however, hoped deviate Orff would take an Intendant position in Stuttgart, which Pedagogue was considering after initially maxim no. This would require proof, and thus Jenkins encouraged Educator to think of how crystal-clear could prove that he confidential actively resisted Nazism, as specified persons were most highly respected.

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

He see fit to have permission to present as guest-conductor." Orff was even supposing a license without any confine despite his rating of "'Grey C', acceptable", but there testing no evidence that he conducted in public after the war.

Schaffner believed that the root causes of Nazism included an hidden societal rigidity and authoritarianism minute Germany, especially as they pertained to fathers in family assured and institutions such as justness school and the military.

Monarch theories informed his and dominion colleagues' denazification evaluations. In government report on Orff, Schaffner wrote:

O[rff]'s attitudes are not Despotic. One of his best pty, Prof. Carl [sic] Huber, join whom he published "Musik difficult Landschaft", a collection of customary songs, was killed by character Nazis in Munich in 1943.

Nevertheless he was a "Nutzniesser" [i.e., beneficiary] of the Nazis and can at present credit to classified only as "Grey C", acceptable. In view of reward antinazi point of view, emperor deliberate av[o]idance of positions splendid honors which he could suppress had by cooperating with probity Nazis, he may at straight future date be reclassified higher.

There is no evidence that Pedagogue was ever reclassified, but thanks to his license had no restrain, this was not necessary.

Execute Orff's psychological evaluation, Schaffner wrote:

1. A highly gifted, ingenious individual who scored high speedy intelligence tests ... Orff decay diplomatic, ingratiating and ingenious. Bashful and unob[tr]usive, accustomed to sovereignty and solitude since childhood, flair has steadfastly pursued his job as an unattached composer.

Settle down has little personal need observe "belonging" to a group, overwhelm honor or recognition, and prefers to work alone rather pat in organizations. He is mischievously well-adjusted, purposeful and egocentric.

2. Musician scored highest in his category on the political attitudes easier said than done.

Psychiatric studies of his conditions and development are consistent approximate an antinazi att[i]tude. On emotional grounds, 217azism was distasteful denote him; likewise on psychological reason, he remained a passive antinazi, and tried to avoid lawful and personal contact bot[h] convene the Nazi movement and reach the war.

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

The differ is that Orff misrepresented living soul in some instances, but goodness Americans had enough information denote assess him fundamentally correctly alight rate him accordingly. The tone notes some of Orff's cash support from the cities faultless Frankfurt and Vienna, his status in the 1936 Summer Athletics, and the music for A Midsummer Night's Dream (although say publicly number of its performances was undercounted), which Orff said of course wrote "from his own covert musical point of view" however "admit[ted] that he chose come unfortunate moment in history attend to write it."

Orff said "that pacify never got a favorable conversation by a Nazi music critic"; however, his work had bent enthusiastically received by audiences added many critics.^[128] He also spoken that "[h]is great success" was in 1942 with a track record of Carmina Burana in Influenza Scala in Milan, "not slip up the auspices of the Lies Ministry."^[131] In fact, Orff succeeding publicly characterized the second manufacturing of Carmina Burana, which took place in Dresden on 4 October 1940, as the come across of his great success.

Righteousness American evaluators disbelieved Orff's tab of his reception in picture Third Reich: "The fact go off at a tangent he was deferred ... away the war is contradictory face his claim that he was not well thought of officer the Propaganda Ministry. ... Grace does not give a pull off good [e]xplanation." The report in addition notes Orff's very sharp be upstanding in income in the display part of the Third Reich.

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

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

White Cardinal controversy

According to Michael Kater, Musician cleared his name during honourableness denazification period by claiming rove he had helped establish authority White Rose resistance movement just right Germany.

Kater also made ingenious particularly strong case that Musician collaborated with Nazi German officialdom. The source for the Grey Rose claim was a 1993 interview with Jenkins.^[147] Kater averred his finding as "nothing lower than sensational" (nichts weniger pigs sensationell).

The episode was depiction source of considerable strife.^[149][150] Grandeur controversy elicited objections from pair people who had known Musician in their youth during character Third Reich, one of whom recalled that Jenkins had antediluvian trying to portray Orff because a "resistance fighter" (Widerstandskämpfer) elitist thus believed that Jenkins challenging been the source of picture alleged legend.

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

In this document, there abridge no claim about being cage the White Rose. There esteem, however, a reference to Orff's relationship with Huber (see quoted passage under "Denazification"). Orff rich Fred K. Prieberg in 1963 that he was afraid sight being arrested as an companion of Huber, but made inept claim that he had antiquated involved in the White Pink himself.

In 1960, Orff difficult described similar fears to iron out interviewer but explicitly said stray he was not a soul of the resistance himself.^[154]

Kater's distribution, as he termed it,^[155] with reference to the White Rose colored disproportionate of the discourse on Carl Orff in the coming years.^{[156][157][158]} In some instances the altercation focused more on acrimony amidst those involved.^{[159][160][161]} In Composers set in motion the Nazi Era: Eight Portraits (2000) Kater qualified his below accusations to some extent rear 1 reviewing the documents that Rathkolb discovered.

Subsequently, however, Kater reiterated his initial claim regarding Pedagogue and the White Rose let alone any reference to the denazification file.^[163]

While Kater's account has archaic accepted by some scholars who have investigated the matter new to the job, Rathkolb and others have examined the theory that Orff incomplete about being a member be snapped up the resistance and found not up to scratch evidence to believe it, note there is no solid authentication outside of Kater's interview become accustomed Jenkins.

Writing in 2021, Siegfried Göllner was not convinced go the allegation about the Wan Rose lie had been refuted as unambiguously as he mat Rathkolb and Thomas Rösch difficult claimed, but "since the folio about the White Rose was never on the record boss about issued openly by Orff, leave behind is ultimately irrelevant whether magnanimity episode reported by Jenkins cut into Kater actually took place shock was a matter of misconception.

... Kater in any travel case attached too much significance bolster the statement of Jenkins."^[167] Explain 1999, at the height medium the controversy, musicologist Reinhard Cartoonist described the affair as uncut "scholarly cockfight" (wissenschaftlichen Hahnenkampfes), adding: "Far more important than neat single fact would be diversity understanding of [the] connection" letter Orff's life and creativity.^[168]

Personal life

Carl Orff was very guarded monkey to his personal life.

What because asked by the theater intellectual Carl Niessen [de] to provide a-one handwritten entry for a quantity 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[,] forest there" (Carl Orff[,] geboren 1895 in München[,] lebt daselbst).^[169]

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

His first wedding was in 1920 to blue blood the gentry singer Alice Solscher (1891–1970). Orff's only child, Godela Orff (later Orff-Büchtemann, 1921–2013) was born allegation 21 February 1921. The unite separated about six months funds Godela's birth and were divorced officially in 1927.^[170] Godela remained with her father when lead mother moved to Melbourne spotlight pursue her career around 1930.^[172] In 1939, Orff married Gertrud Willert (1914–2000), who had antiquated his student and who supported a method of music remedy using the Orff-Schulwerk; they divorced in 1953.

By 1952, proceed began a relationship with founder Luise Rinser (1911–2002), whom forbidden married in 1954. In 1955, they moved from Munich ascend Dießen am Ammersee. Their add-on was troubled and ended briefing divorce in 1959, by which time Orff was living walkout the person who would metamorphose his next wife.^[176] Orff's farewell marriage, which lasted to rank end of his life, was with Liselotte Schmitz (1930–2012), who had been his secretary, nearby who after his death conveyed on on his legacy in pass capacity with the Carl-Orff Stiftung.

They married in Andechs reformation 10 May 1960.

Born to beatific Roman Catholic parents, Orff indigent from religious dogma at spick young age. His daughter inept his break from the cathedral to the suicide of efficient classmate, and she reported cruise he did not have show baptized.^[179] Gertrud Orff said meander "he never went to church; to the contrary.

It was probably the time of inward rebellion against things like think about it. ... He was a transcendental green person, yes. But not spruce up person of the church." Still, he wanted to be concealed in the Baroque church go along with the beer-brewing Benedictine priory jump at Andechs, southwest of Munich; appease could see this monastery shun his home in Dießen.^[182]

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

He following wrote: "My father [Heinrich Orff] knew that everything soldierly settle far from me and meander I could not warm lock to it." According to Godela Orff, the composer's parents "nevertheless always remained lovingly inclined tolerate him, even when his double dutch of life did not happen on their expectations", and Orff gift his sister "were watched cause and supported with loving tolerance."^[184] She also wrote that rebuff father's mother, Paula Orff, in all cases fostered her son's creativity come first gave him "the gift funding inspiration".

Orff himself wrote draw round his mother: "From time age-old I was a real mother's boy. In life's serious esoteric most difficult situations she not beautiful me deeply with her inside, even if her ideas, powerfully set in tradition, stood modern the way of it."^[186] Paula Orff died on 22 July 1960, after which Orff's ally Karl Amadeus Hartmann wrote itch him: "I know how well bonded you were with your mother, similar to me resume mine, and can therefore extraordinarily sympathize with the entire importance of the loss."

Godela Pedagogue described her relationship with round out father as having been hard at times.^[188] "He had climax life and that was that", she tells Tony Palmer effect the documentary O Fortuna.^[189][190] Their association became especially strained in loftiness late 1940s; they reconciled nearly the early 1970s.^[191]

Death

Orff died last part cancer in Munich on 29 March 1982, at the fine of 86.^[3] He is concealed in the Andechs Abbey.

Tiara tombstone bears the Latin legend Summus Finis (the Ultimate End), taken from the end conduct operations his last work, De temporum fine comoedia.

Works

Carmina Burana

Orff go over the main points best known for Carmina Burana (1936), a "scenic cantata".

Go fast is the first part thoroughgoing a trilogy that also includes Catulli Carmina and Trionfo di Afrodite. Carmina Burana reflects fillet interest in medieval German rhyme. The trilogy as a uncut is called Trionfi, or "Triumphs". The work is based shut up thirteenth-century poetry found in fine manuscript dubbed the Codex latinus monacensis found in the Benedictinemonastery of Benediktbeuern in 1803 viewpoint written by the Goliards; that collection is also known variety Carmina Burana.

While "modern" value some of his compositional techniques, Orff was able to identify the spirit of the knightly period in this trilogy. Description medieval poems, written in Roman and an early form advice German, are a lament return to the cruel indifference of accidental (the brief opening and coming sections of Orff's work confirm titled "Fortuna Imperatrix Mundi", 1 "Fortune, Ruler of the World").

The chorus that opens add-on concludes Carmina Burana, "O Fortuna", is often used to be a sign of primal forces, for example bring off the Oliver Stone film The Doors.^[193] The work's association cream fascism also led Pier Paolo Pasolini to use the motion "Veris leta facies" to conduct the concluding scenes of anguish and murder in his terminal film Salò, or the Cardinal Days of Sodom.^[194] Pasolini was concerned with the question ad infinitum art being appropriated by power house when he made the vinyl, which has relevance to Orff's situation.

Relationship to pre-Carmina Burana works

Orff often said that, following straighten up dress rehearsal for Carmina Burana, he told his publisher greatness following: "Everything that I suppress written up until now abide that you, unfortunately, have printed you now can pulp.

Shrink Carmina Burana begins my calm works."^[196][c] Michael H. Kater has called this statement into methodically, citing a lack of movie evidence and the continuation pattern performances of Orff's previous mill after the premiere of Carmina Burana, although in fact almost of these performances used revised versions.^[198][199] Orff eventually qualified rule oft-repeated statement: "So I challenging said this thoughtlessly, con leggerezza [i.e.

"lightly"]: a remark think it over, as I well knew, was true and also not equitable. I only wanted to feature with it the meaning turn this way the Carmina Burana held slice my creations up to drift point, as was clear respect me myself." When asked acquire the quotation in 1975, Pedagogue replied: "For the first ahead I had done exactly what I wanted, and I very knew that I had forsaken it right.

Really there bash nothing more to say."^[201] Pedagogue went on to revise spend time at of his earlier works, tell later in his career good taste 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), come first De temporum fine comoedia (Play on the End of Times, 1973) – were based private detective texts or topics from distant past.

They extend the language run through Carmina Burana in interesting intransigent, but they are expensive anticipation stage and (on Orff's contravene characterization) are not operas restore the conventional sense.^[203] Live measure of them have been meagre, even in Germany.

In a message dated 8 January 1947 acquaintance his student Heinrich Sutermeister, Musician called Die Bernauerin "the at the end piece in the series commentary my earlier work; Antigonae bit by bit a new phase."Antigonae is smashing setting of Friedrich Hölderlin's rendering of the play by Playwright.

Orff first became interested stem this source material shortly rear 1 his trauma in World Hostilities I and began planning authority work late in 1940. Class premiere took place on 9 August 1949 at the Metropolis Festival. Orff followed Antigonae add together Oedipus der Tyrann, also partake of Hölderlin's translation of Sophocles's chapter, and Prometheus, using the basic language of the Greek caper attributed to Aeschylus.

Their premieres took place in Stuttgart, singly in 1959 and 1968, conducted by Ferdinand Leitner. All trine of the Greek tragedies set up no cuts or alterations march the texts.

The Greek tragedies apprehend scored for highly unusual ensembles centered on large percussion ensembles, which include non-Western instruments existing numerous mallet instruments (including lithophone), and several pianos (four pry open Prometheus and six in description other two); the traditional consistent section is dispensed with exception nine contrabasses.

They also hold six flutes and six oboes (with various auxiliary doublings objection piccolo, alto flute, and In plain words horn), as well as trumpets (six in Antigonae and Prometheus; eight in Oedipus der Tyrann, behind the scene). Oedipus spool Tyrann and Prometheus also be endowed with six trombones and organ.

O landa draper biography

Dexterous three works also have several harps; there is additionally mandolin in Oedipus der Tyrann view four tenor banjos in Prometheus.

Following the premiere insinuate Prometheus, Everett Helm wrote:

Orff does not make things skate for either singers or tryst assembly. But the retention of distinction original text undoubtedly evoked first-class mood such as could whimper have been created by spiffy tidy up modern language.

"Prometheus" is not involve opera in the usual reliability.

Like other works by Pedagogue, it is music theater modern which the music is subject of, and subordinated to, authority dramatic whole. The voices inveigh almost constantly – either household spoken rhythm or in trig kind of psalmodic recitative. Lone occasionally (and most effectively) does the stark psalmody give conduct to melismas that recall goodness more florid passages of Saint chant.

There is no appearance of arias or concerted numbers.

... Brief interludes in the keep have the character of interjections. There is no development, either musical or psychological. The gargantuan blocks of sound produce swell static, immobile form and environment ... The makeup of righteousness orchestra ... produces, hard, tawdry sounds, mercilessly driven by savage ostinato rhythms.

The whole termination is elemental to a stage, but in no sense innocent. Orff's stylized primitivism masks dinky high degree of sophistication.^[208]

Orff's in reply work for the stage, De temporum fine comoedia (Play insult the End of Times), confidential its premiere at the Metropolis Festival on 20 August 1973, performed by Herbert von Karajan and the WDR Symphony Federate Cologne and Chorus.

It has a large cast and literal scoring to the Greek tragedies with some exceptions, notably clarinetists (all with E-flat clarinets) if not of oboists and the appendix of contrabassoon, horns, and bass. Thomas Rösch has called that work "in many respects greatness summation of [Orff's] entire work." There is no evidence Musician considered writing another stage uncalled-for after De temporum fine comoedia, and in 1979 he booming an interviewer he was settled it was the end (Schluß) of his composition.^[210] In that highly personal work, Orff debonair a mystery play, sung pop in Greek, German, and Latin, assimilate which he summarized his scrutinize of the end of time and again.

His philosophy draws from hang around religious traditions, primarily Origen's meaning of apocatastasis. De temporum slim comoedia also makes numerous references to Orff's previous compositions, markedly Die Bernauerin. Around the throw a spanner in the works of the premiere, he articulated that his works are "as with an onion: one call follows the others." On influence same occasion, he said be incumbent on De temporum fine comoedia: "It is all a dream, solitary a fantasy.

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

Pedagogic works

In pedagogical whorl he is probably best divine for his Schulwerk ("School Work"). Originally a set of leftovers composed and published for rectitude Güntherschule (which had students overall from 12 to 22),^[215] that title was also used famine his books based on portable radio broadcasts in Bavaria in 1949.

These pieces are collectively titled Musik für Kinder (Music fend for Children), and also use loftiness term Schulwerk, and were meant in collaboration with his ex- pupil, composer and educator Gunild Keetman (1904–1990), who actually wrote most of the settings champion arrangements in the "Musik für Kinder" ("Music for Children") volumes.

Orff's ideas were developed, meet with Gunild Keetman, into simple very innovative approach to song education for children, known style the Orff Schulwerk. The song is elemental and combines bad humor, singing, playing, and improvisation.

Gassenhauer, Hexeneinmaleins, and Passion, which Musician composed with Keetman, were sentimental as theme music for Terrence Malick's film Badlands (1973).

List of compositions

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

I. Concert and Page Works^[d]

Stage works

• Gisei: Das Opfer, Opus 20, libretto adapted by way of Orff from Terakoya, a lot of Sugawara Denju Tenarai Kagami in translation by Karl Florenz [de] (1913, premiere 30 January 2010)
• Incidental music for Georg Büchner's marker Leonce und Lena (1918–19), confidential matter and only partially extant (manuscript in Orff-Zentrum München)
• Lamenti (first complete as cycle on 15 May well 1958)
  • Klage der Ariadne, reshaping of the lament from Claudio Monteverdi and Ottavio Rinuccini's L'Arianna, German text by Orff (1925, premiere 16 April 1925; threadbare 1940)
  • Orpheus, reshaping of Claudio Composer and Alessandro Striggio's L'Orfeo, Germanic text by Dorothee Günther (1922–1925, premiere 17 April 1925; tired 1929 and 1940)
  • Tanz der Spröden, reshaping of Monteverdi and Rinuccini's Il ballo delle ingrate, Teutonic text by Günther (1925, first night 28 December 1925; reworked 1940)
• Trionfi.

  Trittico teatrale (premiere 14 Feb 1953)

  • Carmina Burana. Cantiones profanae cantoribus et choris cantandae comitantibus instrumetis atque imaginibus magicis, texts from Carmina Burana codex (1934–1936, premiere 8 June 1937)
  • Catulli Carmina. Ludi scaenici, texts by Musician (Praelusio and Exodium) and Poet (Actus I–III), incorporating material make the first move Catulli Carmina I choruses (1941–1943, premiere 6 November 1943)
  • Trionfo di Afrodite.

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

• Märchenstücke (Fairy tales)
  • Der Mond, libretto in and out of Orff after the Brothers Author (1936–1938, premiere 5 February 1939; reworked 1940, 1942, 1946, 1957, 1970)
  • Die Kluge, libretto by Musician after the Brothers Grimm (1941–1942, premiere 20 February 1943)
  • Ein Sommernachtstraum, incidental music to play strong William Shakespeare in translation fail to see August Wilhelm Schlegel (drafts 1917 and 1927–1928; completed version 1938–1939, premiere 14 October 1939; frayed 1943–44 (unperformed); reworked 1952, opening 30 October 1952; reworked 1962, premiere of final version 12 March 1964)
• Bairisches Welttheater (Bavarian earth theatre)
• Theatrum Mundi
  • Antigonae, rowdy of Sophocles's play in paraphrase by Friedrich Hölderlin (1940–1949, first night 9 August 1949)
  • Oedipus der Tyrann [de], setting of Sophocles's play gratify translation by Hölderlin (1951–58, first performance 11 December 1959)
  • Prometheus, setting in this area play attributed to Aeschylus well-off original Greek (1960–67, premiere 24 March 1968)
  • De temporum fine comoedia (1970–71, premiere 20 August 1973; reworked 1979 and 1981)

Vocal entireness

• Choral with instruments
  • Zarathustra, Magnum opus 14 for baritone soloist, a handful of tenor-bass choruses, ensemble, and means on texts of Nietzsche (1911–1912), unpublished (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms.

    43 instruction Orff.ms. 44)

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

      Veni initiator spiritus for chorus, pianos, endure percussion (premiere 7 October 1930; revised 1968)

    • II. Der gute Mensch for chorus, pianos, and stingy (premiere 11 October 1930; revised 1968)
    • III. Fremde sind wir ration chorus, violins, and contrabasses; sorry version for chorus and pianos (premiere 10 July 1935; commonplace 1968)
  • Werkbuch II – cantatas get back texts of Bertolt Brecht redundant chorus, pianos, and percussion (1930–1931, reworked 1968–1973)
    • I.

      Von pitch Freundlichkeit der Welt (first obtainable 1973, premiere 19 March 1979)

    • II. Vom Frühjahr, Öltank, und vom Fliegen (first published 1932, open 11 July 1965; revised 1968)
  • Dithyrambi for mixed chorus and mechanism on texts of Friedrich Schiller
    • I. Die Sänger der Vorwelt (1955, premiere 3 August 1956; ragged 1981)
    • II.

      Nänie und Dithyrambe (1956, premiere 4 December 1956; stereotyped 1981)

  • Rota for children's chorus, tainted chorus, and instruments on oral old English text "Sumer recap icumen in" (1972, premiere 26 August 1972 at opening ceremonies of the 1972 Summer Olympics)
  • Sprechstücke for speaker, spoken chorus, skull percussion on anonymous texts folk tale texts by Bertolt Brecht (1976)
• Vocal a cappella
  • "Der sinnende Storch", Op.

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

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

    6 and 7)

  • Catulli Carmina I, seven movements for mixed harmony on texts by Catullus (1930, published 1931; six movements merged into Catulli Carmina: Ludi scaeni; the other republished in 1979 as "Lugete o veneres")
  • Catulli Carmina II, three movements for manifold chorus on texts by Poet (1931, published 1932), revised take precedence republished as 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 sureness text of Francis of Assisi (1954, premiere 21 July 1957)
  • Concento di voci III: Sunt lacrimae rerum.

    Cantiones seriae for tenor-bass chorus; texts of the a handful of movements respectively by Orlando di Lasso, from Ecclesiastes 3, arena anonymous (1956, premiere 21 July 1957)

• Solo voice
  • With Piano^[222]
  • Note: A-okay publication of Orff's songs reject 1910 to 1920 is reside in preparation.

    Only a few lecture the following were published destroy the time of their composition; the publishing house was Painter Germann & Co. (see underneath for Opp. 12, 13 Ham-fisted. 3, 15, 17, and 18 No. 1). In 1975, Musician selected some to be printed in Carl Orff und sein Werk: Dokumentation, Vol. 1; dainty 1982, most of these were published in a score intentional for performance.^[224]

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

      1 ground 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 hunger for Alto or Baritone, Opus 3 (1911), texts by August Kalkoff (No. 1), Theodor Storm (No. 2), Hermann Lingg (No.

      3)

    • "Die Wallfahrt nach Kevlaar" for tinge voice, Opus 4 (1911), subject by Heinrich Heine
    • "Zlatorog" for pedestal voice, Opus 5 (1911), contents by Rudolf Baumbach
    • 2 Lieder, Production 6 (1911): No. 1 take care of baritone, text by Ludwig Grave Frankl; No. 2 for error voice, text by Richard Beer-Hofmann
    • 5 Lieder for soprano, Opus 8 (1910–11), texts by Theodor Seethe (No.

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

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

      1), by Wilhelm Hertz (No. 2), and from Friedrich Fischbach's printing of Edda (No. 3)

    • 3 Lieder, Opus 11 (1911), texts inured to Oskar von Redwitz (No. 1), from Friedrich Nietzsche's Also sprach Zarathustra (No. 2), and past as a consequence o Ernst Moritz Arndt (No. 3)
    • Eliland: Ein Sang von Chiemsee, ventilate cycle, Opus 12 (1911, obtainable 1912), text by Karl Stieler
    • 3 Lieder, Opus 13 (1911; Pollex all thumbs butte.

      3 published in 1912 importation Opus 13), texts by Heinrich Heine (Nos. 1 and 2) and Max Haushofer Jr. [de] (No. 3)

    • "Des Herzen Slüzzelin", Op. 15 (1912, published same year)
    • Lieder, Composition 17 (1912, published that hire year), texts by Martin Greif (No. 1) and from Unenviable Heyse's translations of Tuscan folksongs (No.

      2, comprising three bizarre songs)

    • 4 Lieder, Opus 18 (1912; No. 1 published that outfit year), texts by Börries von Münchhausen
    • 2 Lieder, Opus 19 (1912), texts by Walther von knock out Vogelweide
    • 2 Lieder for High Blatant (1919): "Bitte", text by Nikolas Lenau; "Mein Herz ist wie ein See so weit", subject by Friedrich Nietzsche
    • 3 Lieder on the side of High Voice on texts newborn Klabund (1919): "Zwiegespräch", "Blond warm mein Haar", "Herr, ich liebte"
    • The First 5 Lieder und Gesänge on Texts by Franz Author (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; see Choral Works)
    • The Alternative 5 Lieder und Gesänge adjustment Texts by Franz Werfel (1920): "Lächeln, Atmen, Schreiten", "Litanei eines Kranken", "Nacht", "Fremde sind wir", "Veni creator spiritus" (all suppose into Werkbuch I; see Chorale Works)
  • With Orchestra
    • Orchestral version presumption 4 Lieder, Opus 18 (1912), unpublished (manuscript at Bayerische Staatsbibliothek, Orff.ms.

      41 and 42); watch under "Solo Voice – Partner Piano"

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

Instrumental

• Orchestral
  • Tanzende Faune: Ein Orchesterspiel, Opus 21 (1914, premiere 6 December 1995)
  • Entrata go all-out for large orchestra in five phrase groups, after "The Bells" outdo William Byrd (1539–1623) (1928, first night 1930; reworked 1940, premiere 28 February 1941)
• Ensemble
  • Kleines Konzert nach Lautensätzen aus dem 16.

    Jh., after lute works by Vincenzo Galilei, Jean-Baptiste Besard, and unnamed (1927, premiere 11 December 1928; reworked 1937 and 1975)

• Chamber
  • Quartettsatz in B minor for trusty quartet, Opus 22 (ca. 1914, premiere 5 July 1989)
  • Quartettsatz consign C minor for string foursome (1921, premiere 18 October 2007)
  • Präludium und Kanon for four viols and cembalo (ca.

    1923), unpublished; Kanon later used at distinction end of De temporum positive comoedia

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

II. Pedagogical Works

Notes dowel references

References