|Name Carl Orff|
|Died March 29, 1982, Munich, Germany|
Spouse Liselotte Schmitz (m. 1960)
Parents Paula Koestler Orff, Heinrich Maria Orff
Compositions Carmina Burana, Carmina Burana, Fortune - Empress of the World: I O Fortuna, Fortune - Empress of the World: I O Fortuna, Catulli Carmina, Catulli Carmina, Die Kluge, Die Kluge, Der Mond, Der Mond, Trionfo di Afrodite, Trionfo di Afrodite, Carmina Burana: Fortune - Empress of the World, Carmina Burana: Fortune - Empress of the World, Antigonae, Antigonae, De Temporum Fine Comoedia, De Temporum Fine Comoedia, Gassenhauer, Gassenhauer, Astutuli - eine bairische Komodie, Astutuli - eine bairische Komodie, The Court of Love: VIII Tempus Est Locundum, The Court of Love: VIII Tempus Est Locundum, Carmina Burana: On the Green, Carmina Burana: On the Green, In the Tavern, In the Tavern, Carmina Burana: The Court of Love, Carmina Burana: The Court of Love, Ludus de nato Infante mirificus, Ludus de nato Infante mirificus, Edipo rey, Edipo rey, Comoedia de Christi Resurrectione, Comoedia de Christi Resurrectione, Carmina Burana: Fortuna Imperatrix Mundi: 1 O Fortuna, Carmina Burana: Fortuna Imperatrix Mundi: 1 O Fortuna, Carmina Burana: I Primo vere: 3 Veris leta facies, Carmina Burana: I Primo vere: 3 Veris leta facies, Carmina Burana: 2 In Taberna, Carmina Burana: 2 In Taberna, The Wounds of Fate, The Wounds of Fate, Boiling Rage, Boiling Rage, Antigonae: V "Io! Unsinnige Sinne!", Antigonae: V "Io! Unsinnige Sinne!", De temporum fine comoedia: I Die Sibyllen "Pasin homu nyx estin isae tois pluton echusin kai ptochois", De temporum fine comoedia: I Die Sibyllen "Pasin homu nyx estin isae tois pluton echusin kai ptochois", Antigonae: IV "O Alter! Alle - wie auf eines Schutzen Ziel", Antigonae: IV "O Alter! Alle - wie auf eines Schutzen Ziel", De temporum fine comoedia: I Die Sibyllen "Choneuso gar hapanta kai eis katharon dialexo", De temporum fine comoedia: I Die Sibyllen "Choneuso gar hapanta kai eis katharon dialexo", Carmina Burana (Cantiones profanae): V Floret silva nobilis, Carmina Burana (Cantiones profanae): V Floret silva nobilis, Antigonae: II "Du weist doch wohl - das allzusprode Sprach'", Antigonae: II "Du weist doch wohl - das allzusprode Sprach'", Act IV "Warum wohl ging die Frau des Oedipus ", Act IV "Warum wohl ging die Frau des Oedipus ", Antigonae: IV "Der Leib auch Danaes musste", Antigonae: IV "Der Leib auch Danaes musste", Act IV "Ihr Konige des Landes - der Gedanke kam mir ", Act IV "Ihr Konige des Landes - der Gedanke kam mir ", Carmina Burana: III Cour d'amours: 23 Dulcissime, Carmina Burana: III Cour d'amours: 23 Dulcissime, Catulli Carmina - act 1: 3 Ille mi par esse deo videtur, Catulli Carmina - act 1: 3 Ille mi par esse deo videtur, Antigonae: V "Ich - liebe Frau - sag' es - als Augenzeuge", Antigonae: V "Ich - liebe Frau - sag' es - als Augenzeuge", Orpheus: Akt II "Eurydike - bist du mir erloschen" (Orpheus), Orpheus: Akt II "Eurydike - bist du mir erloschen" (Orpheus), Carmina Burana (Cantiones profanae): I O Fortuna - velut Luna, Carmina Burana (Cantiones profanae): I O Fortuna - velut Luna, Act V "Das hast du - eben bring´ ich sie zu dir", Act V "Das hast du - eben bring´ ich sie zu dir", Antigonae: I "Mein Konig - diesmal plaudr' ich nicht", Antigonae: I "Mein Konig - diesmal plaudr' ich nicht", De temporum fine comoedia: III "Dies Illa" "Omne genus daemoniorum caecorum - claudorum sive confusorum - attendite iussum meorum et vocationem verborum", De temporum fine comoedia: III "Dies Illa" "Omne genus daemoniorum caecorum - claudorum sive confusorum - attendite iussum meorum et vocationem verborum", Orpheus: Akt III "Weh - das des Lebens Sehnsucht" (Eurydike), Orpheus: Akt III "Weh - das des Lebens Sehnsucht" (Eurydike), Act I "O ihr des alten Kadmos Kinder - neu Geschlecht", Act I "O ihr des alten Kadmos Kinder - neu Geschlecht", Carmina Burana: III Cour d'amours: 18 Circa mea pectora, Carmina Burana: III Cour d'amours: 18 Circa mea pectora, Antigonae: I "Gemeinsamschwesterliches! O Ismenes Haut!", Antigonae: I "Gemeinsamschwesterliches! O Ismenes Haut!", Antigonae: V "Um Vieles ist das Denken mehr", Antigonae: V "Um Vieles ist das Denken mehr", Carmina Burana (Cantiones profanae): X In trutina, Carmina Burana (Cantiones profanae): X In trutina, Antigonae: I "Ihr Manner - war's die Stadt allen", Antigonae: I "Ihr Manner - war's die Stadt allen", Carmina Burana: III Cour d’amours: 19 Si puer cum puellula, Carmina Burana: III Cour d’amours: 19 Si puer cum puellula, Come - My Beauty, Come - My Beauty, The Wheel of Fortune, The Wheel of Fortune, The Roasted Swan, The Roasted Swan
Similar People Gunild Keetman, George Frideric Handel, Giuseppe Verdi, Felix Mendelssohn, Joseph Haydn
Carl Orff - O Fortuna ~ Carmina Burana
Carl Heinrich Maria Orff ( [ˈkaɐ̯l ˈɔɐ̯f]; (1895-07-10)10 July 1895 – (1982-03-29)29 March 1982) was a German composer, best known for his cantata Carmina Burana (1937). In addition to his career as a composer, Orff developed an influential approach toward music education for children.
- Carl Orff O Fortuna Carmina Burana
- Carl orff carmina burana
- Early life
- World War I
- The 1920s
- Nazi era
- After World War II
- Personal life
- Musical works
- Pedagogic works
- List of compositions
Carl orff carmina burana
In 1911, at age 16, some of Orff's music was published. Many of his youthful works were songs, often settings of German poetry. They fell into the style of Richard Strauss and other German composers of the day, but with hints of what would become Orff's distinctive musical language.
In 1911/12, Orff wrote Zarathustra, Op. 14, an unfinished large work for baritone voice, three male choruses and orchestra, based on a passage from Friedrich Nietzsche's philosophical novel Also sprach Zarathustra. The following year, he composed an opera, Gisei, das Opfer (Gisei, the Sacrifice). Influenced by the French Impressionist composer Claude Debussy, he began to use colorful, unusual combinations of instruments in his orchestration.
World War I
Moser's Musik-Lexikon states that Orff studied at the Munich Academy of Music until 1914. He then served in the German Army during World War I, when he was severely injured and nearly killed when a trench caved in. Afterwards, he held various positions at opera houses in Mannheim and Darmstadt, later returning to Munich to pursue his music studies.
In the mid-1920s, Orff began to formulate a concept he called elementare Musik, or elemental music, which was based on the unity of the arts symbolized by the ancient Greek Muses, and involved tone, dance, poetry, image, design, and theatrical gesture. Like many other composers of the time, he was influenced by the Russian-French émigré Igor Stravinsky. But while others followed the cool, balanced neoclassic works of Stravinsky, it was works such as Les noces (The Wedding), a pounding, quasi-folkloric evocation of prehistoric wedding rites, that appealed to Orff. He also began adapting musical works of earlier eras for contemporary theatrical presentation, including Claudio Monteverdi's opera L'Orfeo (1607). Orff's German version, Orpheus, was staged under his direction in 1925 in Mannheim, using some of the instruments that had been used in the original 1607 performance. The passionately declaimed opera of Monteverdi's era was almost unknown in the 1920s, however, and Orff's production met with reactions ranging from incomprehension to ridicule.
In 1924 Dorothee Günther and Orff founded the Günther School for gymnastics, music, and dance in Munich. Orff was there as the head of a department from 1925 until the end of his life, and he worked with musical beginners. There he developed his theories of music education, having constant contact with children. In 1930, Orff published a manual titled Schulwerk, in which he shares his method of conducting. Before writing Carmina Burana, he also edited 17th-century operas. However, these various activities brought him very little money.
Orff's relationship with German fascism and the Nazi Party has been a matter of considerable debate and analysis. His Carmina Burana was hugely popular in Nazi Germany after its premiere in Frankfurt in 1937. Given Orff's previous lack of commercial success, the monetary factor of Carmina Burana's acclaim was significant to him. But the composition, with its unfamiliar rhythms, was also denounced with racist taunts. He was one of the few German composers under the Nazi regime who responded to the official call to write new incidental music for A Midsummer Night's Dream after the music of Felix Mendelssohn had been banned. Defenders of Orff note that he had already composed music for this play as early as 1917 and 1927, long before this was a favor for the Nazi regime.
Orff was a friend of Kurt Huber, one of the founders of the resistance movement Weiße Rose (the White Rose), who was condemned to death by the Volksgerichtshof and executed by the Nazis in 1943. Orff by happenstance called at Huber's house on the day after his arrest. Huber's distraught wife, Clara, begged Orff to use his influence to help her husband, but he declined her request. If his friendship with Huber was ever discovered, he told her, he would be "ruined". On 19 January 1946 Orff wrote a letter to the deceased Huber. Later that month, he met with Clara Huber, who asked him to contribute to a memorial volume for her husband. Orff's letter was published in that collection the following year. In it, Orff implored him for forgiveness.
He had a long friendship with German-Jewish musicologist, composer and refugee Erich Katz, who fled Nazi Germany in 1939.
According to Canadian historian Michael H. Kater, during Orff's denazification process in Bad Homburg, Orff claimed that he had helped establish the White Rose resistance movement in Germany. There was no evidence for this other than his own word, and other sources dispute his claim. Kater also made a particularly strong case in his earlier writings that Orff collaborated with Nazi German authorities.
However, in Orff's denazification file, discovered by Viennese historian Oliver Rathkolb in 1999, no remark on the White Rose is recorded; and in Composers of the Nazi Era: Eight Portraits (2000) Kater recanted his earlier accusations to some extent.
In any case, Orff's assertion that he had been anti-Nazi during the war was accepted by the American denazification authorities, who changed his previous category of "gray unacceptable" to "gray acceptable", enabling him to continue to compose for public presentation, and to enjoy the royalties that the popularity of Carmina Burana had earned for him.
After World War II
Most of Orff's later works – Antigonae (1949), Oedipus der Tyrann (Oedipus the Tyrant, 1958), Prometheus (1968), and De temporum fine comoedia (Play on the End of Times, 1971) – were based on texts or topics from antiquity. They extend the language of Carmina Burana in interesting ways, but they are expensive to stage and (on Orff's own admission) are not operas in the conventional sense. Live performances of them have been few, even in Germany.
Orff was an observant and active Roman Catholic. He was married four times: to Alice Solscher (m. 1920, div. 1925), Gertrud Willert (m. 1939, div. 1953), Luise Rinser (m. 1954, div. 1959) and Liselotte Schmitz (m. 1960). His only child Godela (1921–2013) was from his first marriage. She has described her relationship with her father as having been difficult at times. "He had his life and that was that" she tells Tony Palmer in the documentary O Fortuna.
Orff died of cancer in Munich in 1982 at the age of 86. He had lived through four epochs: the German Empire, the Weimar Republic, Nazi Germany and the post World War II West German Bundesrepublik. Orff was buried in the Baroque church of the beer-brewing Benedictine priory of Andechs, south of Munich. His tombstone bears his name, his dates of birth and death, and the Latin inscription Summus Finis (the ultimate goal), which is taken from the end of De temporum fine comoedia.
Orff is best known for Carmina Burana (1936), a "scenic cantata". It is the first part of a trilogy that also includes Catulli Carmina and Trionfo di Afrodite. Carmina Burana reflected his interest in medieval German poetry. The trilogy as a whole is called Trionfi, or "Triumphs". The composer described it as the celebration of the triumph of the human spirit through sexual and holistic balance. The work was based on thirteenth-century poetry found in a manuscript dubbed the Codex latinus monacensis found in the Benedictine monastery of Benediktbeuern in 1803 and written by the Goliards; this collection is also known as Carmina Burana. While "modern" in some of his compositional techniques, Orff was able to capture the spirit of the medieval period in this trilogy, with infectious rhythms and simple harmonies. The medieval poems, written in Latin and an early form of German, are often racy, but without descending into smut. "Fortuna Imperatrix Mundi", commonly known as "O Fortuna", from Carmina Burana, is often used to denote primal forces, for example in the Oliver Stone movie The Doors. The work's association with fascism also led Pier Paolo Pasolini to use the movement "Veris leta facies" to accompany the concluding scenes of torture and murder in his final film Salò, or the 120 Days of Sodom.
With the success of Carmina Burana, Orff disowned all of his previous works except for Catulli Carmina and the Entrata (an orchestration of "The Bells" by William Byrd (1539–1623)), which were rewritten until acceptable by Orff. Later on, however, many of these earlier works were released (some even with Orff's approval). As an historical aside, Carmina Burana is probably the most famous piece of music composed and premiered in Nazi Germany. Carmina Burana was in fact so popular that Orff received a commission in Frankfurt to compose incidental music for A Midsummer Night's Dream, which was supposed to replace the banned music by Mendelssohn. After several performances of this music, he claimed not to be satisfied with it, and reworked it into the final version that was first performed in 1964.
Orff was reluctant to term any of his works simply operas in the traditional sense. For example, he referred to his works Der Mond (The Moon, 1939) and Die Kluge (The Wise Woman, 1943) as Märchenopern ("fairytale operas"). Both compositions feature the same "timeless" sound, called timeless because they do not employ any of the musical techniques of the period in which they were composed, with the intent that they be difficult to define as belonging to a particular era. Their melodies, rhythms, and accompanying text form a unique union of words and music.
About his Antigonae (1949), Orff said specifically that it was not an opera but rather a Vertonung, a "musical setting", of the ancient tragedy. The text is a German translation, by Friedrich Hölderlin, of the Sophocles play of the same name. The orchestration relies heavily on the percussion section and is otherwise fairly simple. It has been labelled by some as minimalistic, a term which is most pertinent in terms of the melodic line. The story of Antigone has a haunting similarity to the history of Sophie Scholl, heroine of the White Rose resistance movement, and Orff may have been memorializing her in his opera.
Orff's last work, De temporum fine comoedia (Play on the End of Times), had its premiere at the Salzburg Festival on August 20, 1973, and was performed by Herbert von Karajan and the WDR Symphony Orchestra Cologne and Chorus. In this highly personal work, Orff presented a mystery play, sung in Greek, German, and Latin, in which he summarized his view of the end of time.
In pedagogical circles he is probably best remembered for his Schulwerk ("School Work"). Originally a set of pieces composed and published for the Güntherschule (which had students ranging from 12 to 22), this title was also used for his books based on radio broadcasts in Bavaria in 1949. These pieces are collectively called Musik für Kinder (Music for Children), and also use the term Schulwerk, and were written in collaboration with his former pupil, composer and educator Gunild Keetman, who actually wrote most of the settings and arrangements in the "Musik für Kinder" ("Music for Children") volumes.
The Music for Children volumes were not designed to be performance pieces for the average child. Many of the parts are challenging for teachers to play. They were designed as examples of pieces that show the use of ostinati, bordun, and appropriate texts for children. Teachers using the volumes are encouraged to simplify the pieces, to write original texts for the pieces and to modify the instrumentation to adapt to the teacher's classroom situation.
Orff's ideas were developed, together with Gunild Keetman, into a very innovative approach to music education for children, known as the "Orff Schulwerk". The music is elemental and combines movement, singing, playing, and improvisation.