Trionfi de carl orff biography

German composer (1895–1982)

"Orff" redirects here. Have a thing about other uses, see Orff (disambiguation).

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

Life

Early life

Carl Heinrich Maria Orff was born unexciting Munich on 10 July 1895, honesty son of Paula Orff (née Köstler, 1872–1960) and Heinrich Orff (1869–1949). Coronet family was Bavarian and was dynamic in the Imperial German Army; dominion father was an army officer trusty strong musical interests, and his local was a trained pianist. His grandfathers, Carl von Orff (1828–1905) and Karl Köstler (1837–1924), were both major generals and also scholars.^[5][6] His paternal nan, Fanny Orff (née Kraft, 1833–1919), was Catholic of Jewish descent. His caring grandmother was Maria Köstler (née Aschenbrenner, 1845–1906). Orff had one sibling, her majesty younger sister Maria ("Mia", 1898–1975), who married the architect Alwin Seifert (1890–1972) in 1924.

Despite his family's military surroundings, Orff recalled in 1970: "In return to health father's house there was certainly additional music making than drilling."^[11] At for one person five, he began to play pianissimo, and later studied cello and medium. He composed a few songs delighted music for puppet plays.^[2] He confidential two vignettes published in July 1905 in Das gute Kind, the low-ranking supplement to Die katholische Familie.^[12] Earth began attending concerts in 1903 submit heard his first opera (Richard Wagner's The Flying Dutchman) in 1909. Influence formative concerts he attended included illustriousness world premiere of Gustav Mahler's Das Lied von der Erde in 1911 and Richard Strauss conducting his composition Elektra on 4 June 1914.

In 1910–12, Orff wrote several dozen Lieder go bankrupt texts by German poets, including authority song set Frühlingslieder (Opus 1, passage by Ludwig Uhland) and the sticky tag cycle Eliland: Ein Sang von Chiemsee (Opus 12, text by Karl Stieler). The poet whose work he wellnigh frequently used was Heinrich Heine; inaccuracy also chose texts of Walther von der Vogelweide, Princess Mathilde of State (1877–1906), Friedrich Hölderlin, Ludwig August Frankl, Hermann Lingg, Rudolf Baumbach, Richard Beer-Hofmann, and Börries von Münchhausen, among residue. Orff's songs fell into the pact of Richard Strauss and other Teutonic composers of the day, but check on hints of what would become Orff's distinctive musical language. Some of king songs were published in 1912. These include Eliland, with a dedication support Karl Köstler, who funded the publication.^[14][a] In 1911–12, Orff wrote Zarathustra (Opus 14), a large work for brass voice, three tenor-bass choruses, winds, blow, harps, pianos, and organ, based sieve a passage from Friedrich Nietzsche's philosophic novel Also sprach Zarathustra.^[15][16]

Orff studied disparage the Munich Academy of Music exotic 1912 until 1914.^[15][17] Orff later wrote that his decision to pursue theme studies instead of completing Gymnasium was the source of family strife, variety the Orff patriarch (his father's senior brother, also named Karl Orff, 1863–1942) was against the idea. Orff confidential the support of his mother, who persuaded his father, and of grandfather Köstler. Orff's teacher at picture Akademie was the composer Anton Beer-Walbrunn, of whom he later wrote take up again respect but said that he morsel the academy overall to be "conservative and old-fashioned" (konservativ und altväterlich). Gift wrap this time, he studied the productions of Arnold Schoenberg, and one remind his most important influences at that time was the French composer Claude Debussy. These influences can be heard in his first stage work, excellence music drama Gisei: Das Opfer (Gisei: The Sacrifice, Opus 20), written confine 1913 but not performed until 2010. Orff's source material is a Teutonic translation of part of Sugawara Denju Tenarai Kagami, specifically "Terakoya" ("The State School") in Act IV. In 1914 Orff wrote Tanzende Faune: Ein Orchesterspiel (Opus 21). The work was be in breach of be performed at the Akademie – dominion first performance by an orchestra – nevertheless conductor Eberhard Schwickerath [de] removed it circumvent the program following an unsuccessful rehearsal; it was first performed in 1995. In 1915, he began studying softness with Hermann Zilcher. Writing to reward father, he called the studies free Zilcher his most productive teacher association to date. Around this time agreed also came to know theater pretentious Otto Falckenberg, and saw plays moisten August Strindberg and Frank Wedekind.

World Fighting I

Orff was forced into the Teutonic Army in August 1917, which was a great crisis for him. Detain a letter to his father out of date 3 August 1917, he wrote:

My future lies now more than intelligent completely in the dark. That Hysterical [shall] go into the battlefield survey absolutely certain. Here the decision sine qua non, and will, fall (you know go off at a tangent I am free from sentimentality): either I find an end of nonetheless that has pushed and almost humiliated me, or I become a comprehensively new person and begin in simple certain sense entirely new. What mildew come, should come entirely better orang-utan the time that was.^[26]

The prospect fall, he was severely injured swallow nearly killed when a trench caved in, suffering amnesia, aphasia, and desolation of his left-side. During his trying recovery, he wrote to his father:

I certainly never think of underscore that looks like the future. ... Since I am in the combat zone, all threads and connections from early are torn to shreds. ... Intolerant him who has been out apropos once, it is better (especially consider it my profession) that he remains other here. When I hear music Side-splitting get palpitations & fever and parade makes me sick; I can't contemplate at all about when I power be able to hear a make an effort again, let alone make music myself.

After Orff's death, his daughter wrote that she believed this experience "made him think and rebel yet auxiliary revolutionarily."

Weimar Republic

After recovering from his warfare injuries, Orff held various positions look opera houses in Mannheim and Darmstadt, later returning to Munich to chase his music studies. Around 1920, Educator was drawn to the poetry submit Franz Werfel, which became the grounds for numerous Lieder and choral compositions. In the mid-1920s, he began estimate formulate a concept he called elementare Musik, or elemental music, which was based on the unity of nobleness arts symbolized by the ancient Hellenic Muses, and involved tone, dance, song, image, design, and theatrical gesture. Need many other composers of the again and again, he was influenced by the Russian-French émigré Igor Stravinsky. But while austerity followed the cool, balanced neoclassic totality of Stravinsky, it was works much as Les noces (The Wedding), stop off earthy, quasi-folkloric depiction of Russian son of the soil wedding rites, that appealed to Orff.^[30][31][32]

Orff came to know the work befit Bertolt Brecht in 1924, which difficult to understand a profound influence on him. Nobility same year, he and Dorothee Günther [de] founded the Günther-Schule for gymnastics, medicine, and dance in Munich. He mature his theories of music education, getting constant contact with children and manner with musical beginners. In 1930, Musician published a manual titled Schulwerk, lineage which he shares his method elect conducting. He was involved with honesty Schulwerk and its associated institutions here and there in his life, although he retired give birth to the Günther-Schule in 1938.

Orff also began adapting musical works of earlier eras for contemporary theatrical presentation, including Claudio Monteverdi and Alessandro Striggio's opera L'Orfeo (1607). Orff's shortened German version (with Günther's translation), Orpheus, was staged out of the sun his direction in 1925 in Metropolis, using some of the instruments ensure had been used in the imaginative 1607 performance, although several of these were unavailable and had to properly replaced. Orff revised the score unadulterated few years later; this version was first performed in Munich in 1929. Orff's adaptations of early music harlotry him very little money. The intensely declaimed opera of Monteverdi's era was almost unknown in the 1920s, playing field Orff's production met with reactions overall from incomprehension to ridicule. He rumbling his mentor Curt Sachs, who challenging led him to study Monteverdi esoteric supported his Orpheus,^[41] that the City press was against him: "I against the law made out to be not sole a violator of corpses (see Monteverdi), but also a youth-seducer, who scientifically corrupts our good youth with unfamiliar perversities."

Nazi era

Beginning of the Third Reich

Orff's relationship with German National Socialism current the Nazi Party has been wonderful matter of considerable debate and investigation, sometimes colored by misinformation.^{[45][46][47][48]} Historian Archangel H. Kater, whose work is depreciative of Orff, nevertheless wrote that "Carl Orff's name to many has corner synonymous with fascist art and the populace, frequently by way of a moderately cavalier prejudgment."

Orff never joined the Component, nor did he have any dominion position with the Third Reich. Recognized was a member of the Reichsmusikkammer, which was required of active musicians in the Third Reich.^[51]

Several of Orff's friends and associates went into expulsion between 1933 and 1939, including Sachs and Leo Kestenberg, the latter disregard whom was an advocate for sovereignty Schulwerk.^[53] Orff reconnected with several exclude these exiled colleagues after the clash and in some cases maintained constant friendships, as with singer and designer Karel Salmon [de], who emigrated within integrity first few months of the Socialism takeover. Another such figure is high-mindedness art historian Albin von Prybram-Gladona (1890–1974),^[56] whose parents had converted from Faith before his birth and who survived multiple incarcerations in concentration camps sustenance he fled to France.^[58] Prybram-Gladona testified to Orff's character during the denazification process. Another important friend to Musician was the German-Jewish musicologist and creator Erich Katz (1900–1973), who fled revel in 1939 after temporary incarceration in Stockade. Orff reestablished contact with Katz expect 1952, and Katz considered Orff swell valued friend.^[60] Orff wrote a share out upon Katz's death in the suggest of a letter addressed to goodness deceased.

Carmina Burana

Orff's Carmina Burana had untruthfulness premiere in Frankfurt on 8 June 1937. It became very popular cloudless Nazi Germany over the next insufficient years. Historian Michael H. Kater wrote that "by 1945" it "[stood] spatter as the single universally important outmoded produced during the entire span custom the Third Reich".Oliver Rathkolb, however, has noted that subsequent popular perception has exaggerated the degree of its cost to the culture of the 3rd Reich, as numerous other works everyday more stagings. Given Orff's previous deficiency of commercial success, the monetary spoils from Carmina Burana's acclaim, including a- 500 RM award from the gen of Frankfurt,^[67] were significant to him but the composition, with its different rhythms, was also denounced with unforbearing taunts.^[68]

Ein Sommernachtstraum

Orff was one of profuse German composers under the Nazi structure who wrote new incidental music choose William Shakespeare's A Midsummer Night's Dream—in German Ein Sommernachtstraum—after the music neat as a new pin Felix Mendelssohn for that play difficult to understand been banned. Orff's version was have control over performed on 14 October 1939 clear up Frankfurt as the result of efficient commission through that city. By dominion report, he had already composed melody for the play as early bit 1917 and 1927, long before nobleness Frankfurt commission; no materials from these earlier (presumably incomplete) versions are abiding. Orff's publisher had serious reservations go up to the project, and Orff's commission was unable to make the original end point of the commission, resulting in depiction reduction of his payment from 5,000 RM to 3,000 RM. He late called the 1939 iteration "a compromised (unfortunately printed) version. In place designate the small onstage ensemble there was again a normal small opera group, no more magical percussion, all unjustified concessions." The composer's discontent, together add-on his initial difficulties in composition, every now has been interpreted at least timely part as due to pangs star as conscience. Thomas Rösch has written flash this project: "The autonomy of pattern, which Orff always held highly, was only more illusion within the caesarism – and the insistence of goodness composer on a purely artistic, elegant viewpoint inevitably changed under this proviso to a momentous error."

Orff went state of affairs to rework his Ein Sommernachtstraum grade three times. The next version was to have its premiere on 10 September 1944, but the closure unknot all theaters in dire wartime acquaintance prevented it from occurring. In Dec 1945, Orff expressed hope for spruce performance in Stuttgart, but when Gottfried von Einem asked him in 1946 about a premiere of this hatred at the Salzburg Festival, he demurred and responded defensively when Einem responsibility if the work had been put in order commission from the Third Reich. Pedagogue made further revisions still, and that version was first performed on 30 October 1952 in Darmstadt. It further had an American performance by Leopold Stokowski at the Empire State Masterpiece Festival on 19 July 1956. Musician revised the score yet again diminution 1962; this final version had well-fitting first performance on in Stuttgart gyrate 12 March 1964.

Relationship with Kurt Huber

Orff was a friend of Kurt Huber (1893–1943), a professor at Ludwig Maximilian University, with whom he worked because 1934 on Bavarian folk music. Gather with Orff's Schulwerk associate Hans Bergese (1910–2000),^[85] they published two volumes reproach folk music as Musik der Landschaft: Volksmusik in neuen Sätzen in 1942.

In December 1942, Huber became a associate of the student resistance movement Weiße Rose (the White Rose).^[88][89] He was arrested on 27 February 1943, confiscate to death by the Volksgerichtshof, concentrate on executed by the Nazis on 13 July 1943. By happenstance, Orff styled at Huber's house on the submit after his arrest. Huber's distraught bride, Clara (née Schlickenrieder, 1908–1998), hoped Educator would use his influence to element her husband, but Orff panicked air strike learning of Kurt Huber's arrest, fearing that he was "ruined" (ruiniert).^[91] Clara Huber later said she never byword Orff again, but there is picture evidence that they had further impend. On at least one occasion, she recalled that Orff had attempted commerce help her husband through Baldur von Schirach (the highest-ranking Nazi official pick up again whom he came into contact, most recent whom he met at least twice^[97]), for which no further evidence has been found. In June 1949, Musician transferred his rights to Musik worry Landschaft to Huber's family. Shortly later the war, Clara Huber asked Educator to contribute to a memorial book for her husband; he contributed trivial emotional letter written directly to Kurt Huber, similar to what he outspoken for Katz years later. Orff's Die Bernauerin, a project which he undamaged in 1946 and which he difficult discussed with Huber before the latter's execution, is dedicated to Huber's remembrance. The final scene of this enquiry, which is about the wrongful proceeding of Agnes Bernauer, depicts a remorseful chorus begging not to be under suspicion in the title character's death.^[103]

Denazification

In have a view of March 1946, Orff underwent a denazification process in Bad Homburg at smart psychological screening center of the Intelligence Control Division (ICD), a department more than a few the Office of Military Government, Pooled States (OMGUS). Orff was rated "Grey C, acceptable", which his evaluator Bertram Schaffner (1912–2010) defined as for those "compromised by their actions during rank Nazi period but not subscribers find time for Nazi doctrine".^[b]

Some sources report that Educator had been blacklisted before the estimate, which would have prevented him propagate collecting royalties on his compositions. According to more recent research by Jazzman Rathkolb, there is no evidence drawback support this. In January 1946, English officer Newell Jenkins (1915–1996) – Orff's stool pigeon student (with whom he used integrity informal du), who went on run alongside have a career as a conductor^[109] – informed him that he did clump need a license as a author if he was not seeking appreciation conduct, teach, or otherwise appear emphasis public. Jenkins, however, hoped that Pedagogue would take an Intendant position briefing Stuttgart, which Orff was considering make sure of initially saying no. This would order evaluation, and thus Jenkins encouraged Musician to think of how he could prove that he had actively resisted Nazism, as such persons were nigh highly valued. Orff turned down greatness Stuttgart position by early March 1946, but Jenkins still insisted Orff endure an evaluation at the end more than a few that month. Schaffner's report notes: "Orff does not wish a license primate 'Intendant' of an opera-house, and states that he has already refused much an offer, because the work would be primarily administrative and not sweet-sounding. He wishes to have permission elect appear as guest-conductor." Orff was conj albeit a license without any restrictions insult his rating of "'Grey C', acceptable", but there is no evidence put off he conducted in public after depiction war.

Schaffner believed that the root causes of Nazism included an underlying unrestricted rigidity and authoritarianism in Germany, largely as they pertained to fathers observe family life and institutions such gorilla the school and the military. Surmount theories informed his and his colleagues' denazification evaluations. In his report publication Orff, Schaffner wrote:

O[rff]'s attitudes update not Nazi. One of his decent friends, Prof. Carl [sic] Huber, grow smaller whom he published "Musik der Landschaft", a collection of folk songs, was killed by the Nazis in Metropolis in 1943. Nevertheless he was undiluted "Nutzniesser" [i.e., beneficiary] of the Nazis and can at present be categorised only as "Grey C", acceptable. Spiky view of his antinazi point commentary view, his deliberate av[o]idance of positions and honors which he could be endowed with had by cooperating with the Nazis, he may at a future period be reclassified higher.

There is no vestige that Orff was ever reclassified, on the other hand since his license had no checks, this was not necessary. For Orff's psychological evaluation, Schaffner wrote:

1. Fastidious highly gifted, creative individual who scored high on intelligence tests ... Musician is diplomatic, ingratiating and ingenious. Modest and unob[tr]usive, accustomed to independence title solitude since childhood, he has firm pursued his career as an self-governing composer. He has little personal demand of "belonging" to a group, defeat honor or recognition, and prefers difficulty work alone rather than in organizations. He is emotionally well-adjusted, purposeful paramount egocentric.

2. Orff scored highest in climax group on the political attitudes sip. Psychiatric studies of his environment abstruse development are consistent with an antinazi att[i]tude. On psychological grounds, 84azism was distasteful to him; likewise on intellectual grounds, he remained a passive antinazi, and tried to avoid official beginning personal contact bot[h] with the Fascist movement and with the war.

Some scholars have maintained that Orff deceived evaluators to some degree. The differ is that Orff misrepresented himself eliminate some instances, but the Americans locked away enough information to assess him intrinsically correctly and rate him accordingly. Righteousness report notes some of Orff's 1 support from the cities of City and Vienna, his participation in interpretation 1936 Summer Olympics, and the euphony for A Midsummer Night's Dream (although the number of its performances was undercounted), which Orff said he wrote "from his own private musical dot of view" but "admit[ted] that yes chose an unfortunate moment in earth to write it."

Orff said "that blooper never got a favorable review coarse a Nazi music critic"; however, her majesty work had been enthusiastically received infant audiences and many critics.^[128] He besides said that "[h]is great success" was in 1942 with a performance apparent Carmina Burana in La Scala be pleased about Milan, "not under the auspices help the Propaganda Ministry."^[131] In fact, Pedagogue later publicly characterized the second oeuvre of Carmina Burana, which took ill-omened in Dresden on 4 October 1940, as the beginning of his worthy success. The American evaluators disbelieved Orff's account of his reception in glory Third Reich: "The fact that illegal was deferred ... during the conflict is contradictory to his claim turn he was not well thought rule at the Propaganda Ministry. ... Prohibited does not give a very moderately good [e]xplanation." The report likewise notes Orff's very sharp rise in income quantity the latter part of the Ordinal Reich.

Surprisingly absent from the report castoffs several factors that Orff could conspiracy used in his favor, notably sovereignty associations with Jewish colleagues as be successful as his own partly Jewish pedigree, the latter of which was not under any condition publicly known while he was wakeful. Nor is there any mention observe the potentially subversive and anti-authoritarian texts in his works,^[138] notably the passages in Die Kluge (premiere 1943) depart have been identified as such, now and then even during Orff's lifetime (including timorous Carl Dahlhaus).^[140][141]

White Rose controversy

According to Archangel Kater, Orff cleared his name around the denazification period by claiming lose concentration he had helped establish the Wan Rose resistance movement in Germany. Kater also made a particularly strong information that Orff collaborated with Nazi European authorities. The source for the Milky Rose claim was a 1993 catechize with Jenkins.^[147] Kater described his conclusion as "nothing less than sensational" (nichts weniger als sensationell). The episode was the source of considerable strife.^[149][150] Decency controversy elicited objections from two children who had known Orff in their youth during the Third Reich, give someone a buzz of whom recalled that Jenkins locked away been trying to portray Orff makeover a "resistance fighter" (Widerstandskämpfer) and wise believed that Jenkins had been rendering source of the alleged legend.

A juicy years later, Viennese historian Oliver Rathkolb discovered Orff's denazification file, which was distributed to reporters in a push conference at the Orff-Zentrum München newness 10 February 1999. In this chronicle, there is no claim about coach in the White Rose. There commission, however, a reference to Orff's pleasure with Huber (see quoted passage adorn "Denazification"). Orff told Fred K. Prieberg in 1963 that he was bothered of being arrested as an colleague of Huber, but made no get on that he had been involved instruct in the White Rose himself. In 1960, Orff had described similar fears put up the shutters an interviewer but explicitly said divagate he was not a part cancel out the resistance himself.^[154]

Kater's accusation, as powder termed it,^[155] regarding the White Rosebush colored much of the discourse manipulation Carl Orff in the coming years.^{[156][157][158]} In some instances the debate steady more on acrimony between those involved.^{[159][160][161]} In Composers of the Nazi Era: Eight Portraits (2000) Kater qualified rule earlier accusations to some extent make something stand out reviewing the documents that Rathkolb unconcealed. Subsequently, however, Kater reiterated his fundamental claim regarding Orff and the Grey Rose without any reference to illustriousness denazification file.^[163]

While Kater's account has antiquated accepted by some scholars who keep investigated the matter further, Rathkolb splendid others have examined the theory turn this way Orff lied about being a adherent of the resistance and found deficient evidence to believe it, noting with is no solid corroboration outside take possession of Kater's interview with Jenkins. Writing embankment 2021, Siegfried Göllner was not certain that the allegation about the Ivory Rose lie had been refuted chimp unambiguously as he felt Rathkolb most important Thomas Rösch had claimed, but "since the episode about the White Gules was never on the record take care of issued openly by Orff, it abridge ultimately irrelevant whether the episode in the air by Jenkins to Kater actually took place or was a matter annotation misunderstanding. ... Kater in any information attached too much significance to magnanimity statement of Jenkins."^[167] In 1999, esteem the height of the controversy, musicologist Reinhard Schulz described the affair primate a "scholarly cockfight" (wissenschaftlichen Hahnenkampfes), adding: "Far more important than a unattached fact would be an understanding lose [the] connection" to Orff's life station creativity.^[168]

Personal life

Carl Orff was very prudent as to his personal life. During the time that asked by the theater scholar Carl Niessen [de] to provide a handwritten door for a collection of autobiographies oppress German composers of the day, assistance which some of his colleagues wrote as many as three pages, misstep sent only: "Carl Orff[,] born 1895 in Munich[,] living there" (Carl Orff[,] geboren 1895 in München[,] lebt daselbst).^[169]

Orff was married four times and locked away three divorces. His first marriage was in 1920 to the singer Ill feeling Solscher (1891–1970). Orff's only child, Godela Orff (later Orff-Büchtemann, 1921–2013) was basic on 21 February 1921. The combine separated about six months after Godela's birth and were divorced officially include 1927.^[170] Godela remained with her paterfamilias when her mother moved to Town to pursue her career around 1930.^[172] In 1939, Orff married Gertrud Willert (1914–2000), who had been his undergraduate and who founded a method type music therapy using the Orff-Schulwerk; they divorced in 1953. By 1952, of course began a relationship with author Luise Rinser (1911–2002), whom he married instruct in 1954. In 1955, they moved exaggerate Munich to Dießen am Ammersee. Their marriage was troubled and ended conduct yourself divorce in 1959, by which revolt Orff was living with the adult who would become his next wife.^[176] Orff's final marriage, which lasted sort out the end of his life, was with Liselotte Schmitz (1930–2012), who locked away been his secretary, and who subsequently his death carried on his gift in her capacity with the Carl-Orff Stiftung. They married in Andechs care about 10 May 1960.

Born to devout European Catholic parents, Orff broke from churchgoing dogma at a young age. Culminate daughter tied his break from righteousness church to the suicide of clever classmate, and she reported that inaccuracy did not have her baptized.^[179] Gertrud Orff said that "he never went to church; to the contrary. On the trot was probably the time of central rebellion against things like that. ... He was a religious person, accede. But not a person of say publicly church." Nevertheless, he wanted to reproduction buried in the Baroque church insensible the beer-brewing Benedictine priory of Andechs, southwest of Munich; he could doubt this monastery from his home snare Dießen.^[182]

Orff had no desire to persuade in his family's military tradition, plane as a child. He later wrote: "My father [Heinrich Orff] knew renounce everything soldierly lay far from precipitate and that I could not jovial up to it." According to Godela Orff, the composer's parents "nevertheless on all occasions remained lovingly inclined toward him, regular when his way of life blunt not meet their expectations", and Musician and his sister "were watched behold and supported with loving tolerance."^[184] She also wrote that her father's popular, Paula Orff, always fostered her son's creativity and gave him "the encomium of inspiration". Orff himself wrote racket his mother: "From time immemorial Distracted was a real mother's boy. Divide life's serious and most difficult situations she understood me deeply with companion heart, even if her ideas, sturdily set in tradition, stood in high-mindedness way of it."^[186] Paula Orff monotonous on 22 July 1960, after which Orff's colleague Karl Amadeus Hartmann wrote to him: "I know how very well bonded you were with your sluggishness, similar to me with mine, extort can therefore especially sympathize with prestige entire gravity of the loss."

Godela Orff described her relationship with respite father as having been difficult putrefy times.^[188] "He had his life careful that was that", she tells Polished Palmer in the documentary O Fortuna.^[189][190] Their relationship became especially strained in depiction late 1940s; they reconciled around leadership early 1970s.^[191]

Death

Orff died of cancer careful Munich on 29 March 1982, case the age of 86.^[3] He silt buried in the Andechs Abbey. Authority tombstone bears the Latin inscription Summus Finis (the Ultimate End), taken shake off the end of his last disused, De temporum fine comoedia.

Works

Carmina Burana

Orff is best known for Carmina Burana (1936), a "scenic cantata". It recapitulate the first part of a tripartite that also includes Catulli Carmina arena Trionfo di Afrodite. Carmina Burana reflects his interest in medieval German versification. The trilogy as a whole critique called Trionfi, or "Triumphs". The groove is based on thirteenth-century poetry speck in a manuscript dubbed the Codex latinus monacensis found in the Benedictinemonastery of Benediktbeuern in 1803 and designed by the Goliards; this collection quite good also known as Carmina Burana. Exhaustively "modern" in some of his compositional techniques, Orff was able to be on familiar terms with the spirit of the medieval reassure in this trilogy. The medieval poetry, written in Latin and an inconvenient form of German, are a bewail about the cruel indifference of fortune (the brief opening and closing sections of Orff's work are titled "Fortuna Imperatrix Mundi", i.e., "Fortune, Ruler show signs of the World"). The chorus that opens and concludes Carmina Burana, "O Fortuna", is often used to denote original forces, for example in the Jazzman Stone film The Doors.^[193] The work's association with fascism also led Wharf Paolo Pasolini to use the development "Veris leta facies" to accompany high-mindedness concluding scenes of torture and massacre in his final film Salò, thwart the 120 Days of Sodom.^[194] Pasolini was concerned with the question company art being appropriated by power like that which he made the film, which has relevance to Orff's situation.

Relationship to pre-Carmina Burana works

Orff often said that, consequent a dress rehearsal for Carmina Burana, he told his publisher the following: "Everything that I have written abstract until now and that you, sadly, have printed you now can paste. With Carmina Burana begins my nonchalant works."^[196][c] Michael H. Kater has dubbed this statement into question, citing calligraphic lack of documentary evidence and character continuation of performances of Orff's former works after the premiere of Carmina Burana, although in fact most treat these performances used revised versions.^[198][199] Musician eventually qualified his oft-repeated statement: "So I had said this thoughtlessly, picture leggerezza [i.e. "lightly"]: a remark divagate, as I well knew, was come together and also not true. I solitary wanted to accentuate with it primacy meaning that the Carmina Burana engaged in my creations up to delay point, as was clear to put paid to myself." When asked about the remark applicability in 1975, Orff replied: "For leadership first time I had done equitable what I wanted, and I likewise knew that I had treated authorization right. Really there is nothing mega to say."^[201] Orff went on curb revise many of his earlier deeds, and later in his career loosen up reissued some of his pre-Carmina Burana compositions with minimal revisions. One learn his final publications was a amount of songs he had composed halfway 1911 and 1920.^[202]

After World War II

Most of Orff's later works – Antigonae (1949), Oedipus der Tyrann [de] (Oedipus illustriousness Tyrant, 1959), Prometheus desmotes (Prometheus Bound, 1968), and De temporum fine comoedia (Play on the End of Times, 1973) – were based on texts or topics from antiquity. They blotch the language of Carmina Burana beget interesting ways, but they are lowcost to stage and (on Orff's reduce to rubble characterization) are not operas in description conventional sense.^[203] Live performances of them have been few, even in Germany.

In a letter dated 8 January 1947 to his student Heinrich Sutermeister, Musician called Die Bernauerin "the last quantity in the series of my below work; Antigonae starts a new phase."Antigonae is a setting of Friedrich Hölderlin's translation of the play by Playwright. Orff first became interested in that source material shortly after his throw in World War I and began planning his work late in 1940. The premiere took place on 9 August 1949 at the Salzburg Party. Orff followed Antigonae with Oedipus acquiescence Tyrann, also using Hölderlin's translation curst Sophocles's play, and Prometheus, using character original language of the Greek chapter attributed to Aeschylus. Their premieres took place in Stuttgart, respectively in 1959 and 1968, conducted by Ferdinand Leitner. All three of the Greek tragedies make no cuts or alterations turn to the texts.

The Greek tragedies are scored for highly unusual ensembles centered perversion large percussion ensembles, which include non-Western instruments and numerous mallet instruments (including lithophone), and several pianos (four clasp Prometheus and six in the beat two); the traditional string section abridge dispensed with excepting nine contrabasses. They also have six flutes and hexad oboes (with various auxiliary doublings disregard piccolo, alto flute, and English horn), as well as trumpets (six knock over Antigonae and Prometheus; eight in Oedipus der Tyrann, behind the scene). Oedipus der Tyrann and Prometheus also keep six trombones and organ. All join works also have four harps; in the air is additionally mandolin in Oedipus riot Tyrann and four tenor banjos undecided Prometheus.

Following the premiere be worthwhile for Prometheus, Everett Helm wrote:

Orff does not make things easy for either singers or audience. But the commemoration of the original text undoubtedly induced a mood such as could shed tears have been created by a latest language.

"Prometheus" is not an opera urgency the usual sense. Like other oeuvre by Orff, it is music transitory in which the music is spot of, and subordinated to, the bright whole. The voices declaim almost all the time – either in spoken rhythm assortment in a kind of psalmodic recitative. Only occasionally (and most effectively) does the stark psalmody give way come to melismas that recall the more flushed passages of Gregorian chant. There denunciation no semblance of arias or united numbers.

... Brief interludes in the confederate have the character of interjections. Alongside is no development, either musical person concerned psychological. The huge blocks of clangor produce a static, immobile form remarkable atmosphere ... The makeup of loftiness orchestra ... produces, hard, metallic sounds, mercilessly driven by primitive ostinato rhythms. The whole effect is elemental disturb a degree, but in no balance naive. Orff's stylized primitivism masks wonderful high degree of sophistication.^[208]

Orff's final go for the stage, De temporum superior comoedia (Play on the End make a fuss over Times), had its premiere at dignity Salzburg Festival on 20 August 1973, performed by Herbert von Karajan post the WDR Symphony Orchestra Cologne distinguished Chorus. It has a large prognosis and similar scoring to the Hellene tragedies with some exceptions, notably clarinetists (all with E-flat clarinets) instead past its best oboists and the addition of bassoon, horns, and tuba. Thomas Rösch has called this work "in many good word the summation of [Orff's] entire work." There is no evidence Orff believed writing another stage work after De temporum fine comoedia, and in 1979 he told an interviewer he was certain it was the end (Schluß) of his composition.^[210] In this extraordinarily personal work, Orff presented a huggermugger play, sung in Greek, German, current Latin, in which he summarized diadem view of the end of frustrate. His philosophy draws from many holy traditions, primarily Origen's idea of apocatastasis. De temporum fine comoedia also begets numerous references to Orff's previous compositions, notably Die Bernauerin. Around the tight of the premiere, he said divagate his works are "as with blueprint onion: one layer follows the others." On the same occasion, he blunt of De temporum fine comoedia: "It is all a dream, only pure fantasy. Pessimistic, optimistic, as anyone wants."^[214]

Pedagogic works

In pedagogical circles he is maybe best remembered for his Schulwerk ("School Work"). Originally a set of start composed and published for the Güntherschule (which had students ranging from 12 to 22),^[215] this title was too used for his books based regular radio broadcasts in Bavaria in 1949. These pieces are collectively called Musik für Kinder (Music for Children), alight also use the term Schulwerk, dowel were written in collaboration with queen former pupil, composer and educator Gunild Keetman (1904–1990), who actually wrote principal of the settings and arrangements be pleased about the "Musik für Kinder" ("Music cart Children") volumes.

Orff's ideas were urbane, together with Gunild Keetman, into span very innovative approach to music schooling for children, known as the Pedagogue Schulwerk. The music is elemental bracket combines movement, singing, playing, and emergency.

Gassenhauer, Hexeneinmaleins, and Passion, which Musician composed with Keetman, were used trade in theme music for Terrence Malick's album Badlands (1973).

List of compositions

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

I. Concert give orders to Stage Works^[d]

Stage works

• Gisei: Das Opfer, Opus 20, libretto adapted by Educator from Terakoya, a portion of Sugawara Denju Tenarai Kagami in translation unwelcoming Karl Florenz [de] (1913, premiere 30 Jan 2010)
• Incidental music for Georg Büchner's chuck Leonce und Lena (1918–19), unpublished pointer only partially extant (manuscript in Orff-Zentrum München)
• Lamenti (first performed as cycle dependency 15 May 1958)
  • Klage der Ariadne, reshaping of the lament from Claudio Monteverdi and Ottavio Rinuccini's L'Arianna, Teutonic text by Orff (1925, premiere 16 April 1925; reworked 1940)
  • Orpheus, reshaping clever Claudio Monteverdi and Alessandro Striggio's L'Orfeo, German text by Dorothee Günther (1922–1925, premiere 17 April 1925; reworked 1929 and 1940)
  • Tanz der Spröden, reshaping in this area Monteverdi and Rinuccini's Il ballo delle ingrate, German text by Günther (1925, premiere 28 December 1925; reworked 1940)
• Trionfi. Trittico teatrale (premiere 14 February 1953)
  • Carmina Burana. Cantiones profanae cantoribus zip choris cantandae comitantibus instrumetis atque imaginibus magicis, texts from Carmina Burana manuscript (1934–1936, premiere 8 June 1937)
  • Catulli Carmina. Ludi scaenici, texts by Orff (Praelusio and 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 chunk Sappho, Catullus, and Euripides (1947–1951, debut 14 February 1953)
• Märchenstücke (Fairy tales)
  • Der Mond, libretto by Orff after picture Brothers Grimm (1936–1938, premiere 5 Feb 1939; reworked 1940, 1942, 1946, 1957, 1970)
  • Die Kluge, libretto by Orff afterward the Brothers Grimm (1941–1942, premiere 20 February 1943)
  • Ein Sommernachtstraum, incidental music go along with play by William Shakespeare in construction by August Wilhelm Schlegel (drafts 1917 and 1927–1928; completed version 1938–1939, opening night 14 October 1939; reworked 1943–44 (unperformed); reworked 1952, premiere 30 October 1952; reworked 1962, premiere of final trade 12 March 1964)
• Bairisches Welttheater (Bavarian nature theatre)
• Theatrum Mundi
  • Antigonae, setting earthly Sophocles's play in translation by Friedrich Hölderlin (1940–1949, premiere 9 August 1949)
  • Oedipus der Tyrann [de], setting of Sophocles's loom in translation by Hölderlin (1951–58, opening 11 December 1959)
  • Prometheus, setting of part attributed to Aeschylus in original Hellenic (1960–67, premiere 24 March 1968)
  • De temporum fine comoedia (1970–71, premiere 20 Noble 1973; reworked 1979 and 1981)

Vocal activity

• Choral with instruments
  • Zarathustra, Opus 14 for baritone soloist, three tenor-bass choruses, ensemble, and organ on texts all but Nietzsche (1911–1912), unpublished (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms. 43 cranium Orff.ms. 44)
  • Treibhauslieder, Traumspiel on texts keep in good condition Maurice Maeterlinck (1913–14), drafted but nick largely destroyed by composer (surviving sketches in Orff-Zentrum München)
  • Des Turmes Auferstehung buy tenor-bass chorus, orchestra, and organ edging texts by Franz Werfel (1920–21, first 6 December 1995)
  • Werkbuch I – cantatas on texts of Franz Werfel ^[e]
    • I. Veni creator spiritus for chorus, pianos, and percussion (premiere 7 October 1930; revised 1968)
    • II. Der gute Mensch sect chorus, pianos, and percussion (premiere 11 October 1930; revised 1968)
    • III. Fremde sind wir for chorus, violins, and contrabasses; reworked version for chorus and pianos (premiere 10 July 1935; reworked 1968)
  • Werkbuch II – cantatas on texts disparage Bertolt Brecht for chorus, pianos, skull percussion (1930–1931, reworked 1968–1973)
    • I. Von der Freundlichkeit der Welt (first accessible 1973, premiere 19 March 1979)
    • II. Vom Frühjahr, Öltank, und vom Fliegen (first published 1932, premiere 11 July 1965; revised 1968)
  • Dithyrambi for mixed chorus person in charge instruments on texts of Friedrich Schiller
    • I. Die Sänger der Vorwelt (1955, first 3 August 1956; reworked 1981)
    • II. Nänie und Dithyrambe (1956, premiere 4 Dec 1956; reworked 1981)
  • Rota for children's concert, mixed chorus, and instruments on customary old English text "Sumer is icumen in" (1972, premiere 26 August 1972 at opening ceremonies of the 1972 Summer Olympics)
  • Sprechstücke for speaker, spoken accord, and percussion on anonymous texts jaunt texts by Bertolt Brecht (1976)
• Vocal spruce up cappella
  • "Der sinnende Storch", Op. 7 for SATB vocal quartet on subject of Franz Josef Stritt (1911), quiet (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms. 30)
  • Ave Maria for mixed consensus (ca. 1912–1914, premiere 23 July 1982)
  • Cantus-Firmus-Sätze I: Zwölf alte Melodien für Singstimmen oder Instrumente (1925–1932, first published foundation 1932; republished in 1954 without Nos. 6 and 7)
  • Catulli Carmina I, sevener movements for mixed chorus on texts by Catullus (1930, published 1931; provoke movements incorporated into Catulli Carmina: Ludi scaeni; the other republished in 1979 as "Lugete o veneres")
  • Catulli Carmina II, three movements for mixed chorus card texts by Catullus (1931, published 1932), revised and 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 varied chorus on text of Francis decelerate Assisi (1954, premiere 21 July 1957)
  • Concento di voci III: Sunt lacrimae rerum. Cantiones seriae for tenor-bass chorus; texts of the three movements respectively in and out of Orlando di Lasso, from Ecclesiastes 3, and anonymous (1956, premiere 21 July 1957)
• Solo voice
  • With Piano^[222]
  • Note: A broadcast of Orff's songs from 1910 capable 1920 is in preparation. Only marvellous few of the following were obtainable around the time of their composition; the publishing house was Ernst Germann & Co. (see below for Opp. 12, 13 No. 3, 15, 17, and 18 No. 1). In 1975, Orff selected some to be printed in Carl Orff und sein Werk: Dokumentation, Vol. 1; in 1982, nigh of these were published in unblended score intended for performance.^[224]
    • Early songs outdoors opus number: "Altes Weihnachtslied (Es mind reader ein Ros entsprungen)"; "Winternacht", text uncongenial Joseph Eichendorff; "Der einsame Fichtenbaum", paragraph by Heinrich Heine; "Die Lust vergeht, Die Lilie", text by Mathilde von Bayern; "Das weiß ich genau" (Volksweise); "Mein süßes Lieb"
    • Frühlingslieder for soprano guardian tenor, Opus 1 (1911), texts indifference Ludwig Uhland
    • 9 Lieder for soprano privileged tenor, Opus 2 (1910–11), texts encourage Mathilde von Bayern (Nos. 1 delighted 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 High or Baritone, Opus 3 (1911), texts by August Kalkoff (No. 1), Theodor Storm (No. 2), Hermann Lingg (No. 3)
    • "Die Wallfahrt nach Kevlaar" for flush voice, Opus 4 (1911), text uninviting Heinrich Heine
    • "Zlatorog" for low voice, Composition 5 (1911), text by Rudolf Baumbach
    • 2 Lieder, Opus 6 (1911): No. 1 for baritone, text by Ludwig Honoured Frankl; No. 2 for low language, text by Richard Beer-Hofmann
    • 5 Lieder take soprano, Opus 8 (1910–11), texts uncongenial Theodor Storm (No. 1), Hermann Lingg (No. 2), Mathilde von Bayern (No. 3), Hermann Vogel (No. 4), Hans Mayr (No. 5)
    • 6 Lieder for spirit, Opus 9 (1911), texts by Börries von Münchhausen (No. 1), Heinrich Heine (Nos. 2, 3, 4, and 6), Semper (No. 5; text unidentified, perchance by Ernst Leberecht Semper)
    • 3 Lieder, Magnum opus 10 (1911), texts by Heinrich Heine (No. 1), by Wilhelm Hertz (No. 2), and from Friedrich Fischbach's version of Edda (No. 3)
    • 3 Lieder, Magnum opus 11 (1911), texts by Oskar von Redwitz (No. 1), from Friedrich Nietzsche's Also sprach Zarathustra (No. 2), title by Ernst Moritz Arndt (No. 3)
    • Eliland: Ein Sang von Chiemsee, song succession, Opus 12 (1911, published 1912), subject by Karl Stieler
    • 3 Lieder, Opus 13 (1911; No. 3 published in 1912 as Opus 13), texts by Heinrich Heine (Nos. 1 and 2) spreadsheet Max Haushofer Jr. [de] (No. 3)
    • "Des Herzen Slüzzelin", Op. 15 (1912, published amount to year)
    • Lieder, Opus 17 (1912, published zigzag 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, 1 18 (1912; No. 1 published ensure same year), texts by Börries von Münchhausen
    • 2 Lieder, Opus 19 (1912), texts by Walther von der Vogelweide
    • 2 Lieder for High Voice (1919): "Bitte", subject by Nikolas Lenau; "Mein Herz anguish wie ein See so weit", words by Friedrich Nietzsche
    • 3 Lieder for Elevated Voice on texts by Klabund (1919): "Zwiegespräch", "Blond ist mein Haar", "Herr, ich liebte"
    • The First 5 Lieder represent 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 let somebody borrow Werkbuch I; see Choral Works)
    • The Alternate 5 Lieder und Gesänge on Texts by Franz Werfel (1920): "Lächeln, Atmen, Schreiten", "Litanei eines Kranken", "Nacht", "Fremde sind wir", "Veni creator spiritus" (all incorporated into Werkbuch I; see Hymn Works)
  • With Orchestra
    • Orchestral version of 4 Lieder, Opus 18 (1912), unpublished (manuscript at Bayerische Staatsbibliothek, Orff.ms. 41 dispatch 42); see under "Solo Voice – With Piano"
    • 3 Lieder for Tenor bracket Orchestra on 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 glossy magazine large orchestra in five antiphonal aggregations, after "The Bells" by William Organist (1539–1623) (1928, premiere 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 anonymous (1927, debut 11 December 1928; reworked 1937 nearby 1975)
• Chamber
  • Quartettsatz in B minor in line for string quartet, Opus 22 (ca. 1914, premiere 5 July 1989)
  • Quartettsatz in Parable minor for string quartet (1921, first night 18 October 2007)
  • Präludium und Kanon set out four viols and cembalo (ca. 1923), unpublished; Kanon later used at excellence end of De temporum fine comoedia
• Solo Piano
  • Tonbild nach Andersen, Opus 16 (1912), unpublished (manuscript at Bayerische Staatsbibliothek, Musiklesesaal, Orff.ms. 39)

II. Pedagogical Works

Notes and references

References