162-487: Carl Heinrich Maria Orff ( German: [kaʁl ˈɔʁf] ; 10 July 1895 – 29 March 1982) was a German composer and music educator, who composed the cantata Carmina Burana (1937). The concepts of his Schulwerk were influential for children's music education . Carl Heinrich Maria Orff was born in Munich on 10 July 1895, the son of Paula Orff (née Köstler, 1872–1960) and Heinrich Orff (1869–1949). His family
324-573: A composition , and it is then transmitted via oral tradition . Conversely, in some Western classical traditions music may be composed aurally—i.e. "in the mind of the musician"—and subsequently written and passed through written documents . In the development of European classical music , the function of composing music initially did not have much greater importance than that of performing it. The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. In
486-462: A programmatic work for string sextet that develops several distinctive " leitmotif "-like themes , each one eclipsing and subordinating the last. The only motivic elements that persist throughout the work are those that are perpetually dissolved, varied, and re-combined, in a technique, identified primarily in Brahms's music, that Schoenberg called " developing variation ". Schoenberg's procedures in
648-532: A singer in a choir , as a player in a youth orchestra , or as a performer on a solo instrument (e.g., piano , pipe organ , or violin ). Teens aspiring to be composers can continue their postsecondary studies in a variety of formal training settings, including colleges, conservatories, and universities. Conservatories , which are the standard musical training system in countries such as France and Canada, provide lessons and amateur orchestral and choral singing experience for composition students. Universities offer
810-604: A Master Class in Composition at the Prussian Academy of Arts in Berlin, Schoenberg was appointed to this post the next year, but because of health problems was unable to take up his post until 1926. Among his notable students during this period were the composers Robert Gerhard, Nikos Skalkottas , and Josef Rufer . Along with his twelve-tone works, 1930 marks Schoenberg's return to tonality, with numbers 4 and 6 of
972-467: A breeze, to avant-garde music from the 20th century that uses graphic notation , to text compositions such as Aus den Sieben Tagen , to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music , and is associated with contemporary composers active in the 20th century, such as John Cage , Morton Feldman , and Witold Lutosławski . The nature and means of individual variation of
1134-632: A circle of artists and intellectuals who included Lene Schneider-Kainer , Franz Werfel , Herwarth Walden , and Else Lasker-Schüler . In 1910 he met Edward Clark , an English music journalist then working in Germany. Clark became his sole English student, and in his later capacity as a producer for the BBC he was responsible for introducing many of Schoenberg's works, and Schoenberg himself, to Britain (as well as Webern , Berg and others). Another of his most important works from this atonal or pantonal period
1296-589: A citizen of the United States. Here he was the first composer in residence at the Music Academy of the West summer conservatory. Schoenberg's superstitious nature may have triggered his death. The composer had triskaidekaphobia , and according to friend Katia Mann, he feared he would die during a year that was a multiple of 13. This possibly began in 1908 with the composition of the thirteenth song of
1458-507: A collection of folk songs, was killed by the Nazis in Munich in 1943. Nevertheless he was a "Nutzniesser" [i.e., beneficiary] of the Nazis and can at present be classified only as "Grey C", acceptable. In view of his antinazi point of view, his deliberate av[o]idance of positions and honors which he could have had by cooperating with the Nazis, he may at a future date be reclassified higher. There
1620-519: A composer; Strauss when he encountered Schoenberg's Gurre-Lieder , and Mahler after hearing several of Schoenberg's early works. Strauss turned to a more conservative idiom in his own work after 1909, and at that point dismissed Schoenberg. Mahler adopted him as a protégé and continued to support him, even after Schoenberg's style reached a point Mahler could no longer understand. Mahler worried about who would look after him after his death. Schoenberg, who had initially despised and mocked Mahler's music,
1782-426: A composition professor , ensemble experience, and graduate courses in music history and music theory, along with one or two concerts featuring the composition student's pieces. A master's degree in music (referred to as an M.Mus. or M.M.) is often a required minimum credential for people who wish to teach composition at a university or conservatory. A composer with an M.Mus. could be an adjunct professor or instructor at
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#17327879330821944-492: A crisis in his development. Military service disrupted his life when at the age of 42 he was in the army. He was never able to work uninterrupted or over a period of time, and as a result he left many unfinished works and undeveloped "beginnings". On one occasion, a superior officer demanded to know if he was "this notorious Schoenberg, then"; Schoenberg replied: "Beg to report, sir, yes. Nobody wanted to be, someone had to be, so I let it be me". According to Norman Lebrecht , this
2106-459: A critical one: 7 + 6 = 13. This stunned and depressed the composer, for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age. He died on Friday, 13 July 1951, shortly before midnight. Schoenberg had stayed in bed all day, sick, anxious, and depressed. His wife Gertrud reported in a telegram to her sister-in-law Ottilie the next day that Arnold died at 11:45 pm, 15 minutes before midnight. In
2268-412: A culture eventually developed whereby faithfulness to the composer's written intention came to be highly valued (see, for example, Urtext edition ). This musical culture is almost certainly related to the high esteem (bordering on veneration) in which the leading classical composers are often held by performers. The historically informed performance movement has revived to some extent the possibility of
2430-647: A few songs and music for puppet plays. He had two vignettes published in July 1905 in Das gute Kind , the children's supplement to Die katholische Familie . He began attending concerts in 1903 and heard his first opera ( Richard Wagner 's The Flying Dutchman ) in 1909. The formative concerts he attended included the world premiere of Gustav Mahler 's Das Lied von der 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
2592-432: A given place is referred to as performance practice , whereas interpretation is generally used to mean the individual choices of a performer. Although a musical composition often has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when a band collaborates to write a song, or in musical theatre , where the songs may be written by one person,
2754-428: A group, public honor or recognition, and prefers to work alone rather than in organizations. He is emotionally well-adjusted, purposeful and egocentric. 2. Orff scored highest in his group on the political attitudes test. Psychiatric studies of his environment and development are consistent with an antinazi att[i]tude. On psychological grounds, [N]azism was distasteful to him; likewise on psychological grounds, he remained
2916-575: A handwritten entry for a collection 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[,] living there" (Carl Orff[,] geboren 1895 in München[,] lebt daselbst). Orff was married four times and had three divorces. His first marriage was in 1920 to the singer Alice Solscher (1891–1970). Orff's only child, Godela Orff (later Orff-Büchtemann, 1921–2013)
3078-416: A lack of documentary evidence and the continuation of performances of Orff's previous works after the premiere of Carmina Burana , although in fact most of these performances used revised versions. Orff eventually qualified his oft-repeated statement: "So I had said this thoughtlessly, con leggerezza [i.e. "lightly"]: a remark that, as I well knew, was true and also not true. I only wanted to accentuate with it
3240-527: A lament about the cruel indifference of fate (the brief opening and closing sections of Orff's work are titled "Fortuna Imperatrix Mundi", i.e., "Fortune, Ruler of the World"). The chorus that opens and concludes Carmina Burana , " O Fortuna ", is often used to denote primal forces, for example in the Oliver Stone film The Doors . The work's association with fascism also led Pier Paolo Pasolini to use
3402-549: A letter to Ottilie dated 4 August 1951, Gertrud explained, "About a quarter to twelve I looked at the clock and said to myself: another quarter of an hour and then the worst is over. Then the doctor called me. Arnold's throat rattled twice, his heart gave a powerful beat and that was the end". Schoenberg's ashes were later interred at the Zentralfriedhof in Vienna on 6 June 1974. Schoenberg's significant compositions in
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#17327879330823564-599: A member of the student resistance movement Weiße Rose (the White Rose ). He was arrested on 27 February 1943, condemned to death by the Volksgerichtshof , and executed by the Nazis on 13 July 1943. By happenstance, Orff called at Huber's house on the day after his arrest. Huber's distraught wife, Clara (née Schlickenrieder, 1908–1998), hoped Orff would use his influence to help her husband, but Orff panicked upon learning of Kurt Huber's arrest, fearing that he
3726-680: A motivic unit "varied and developed in manifold ways" in Four Orchestral Songs , Op. 22 (1913–1916), writing that he was "in the preliminary stages of a procedure ... which allows for a motif to be a constant basis". Straus considered that the designation "'motivic' music" might apply "in a modified way" to twelve-tone music more generally. In the aftermath of World War I , Schoenberg sought an ordering principle that would make his musical texture simpler and clearer. Thus he arrived at his "method of composing with twelve tones which are related only with one another". All twelve pitches of
3888-552: A native of Prague, was a piano teacher. Arnold was largely self-taught. He took only counterpoint lessons with the composer Alexander Zemlinsky , who was to become his first brother-in-law. In his twenties, Schoenberg earned a living by orchestrating operettas , while composing his own works, such as the string sextet Verklärte Nacht ("Transfigured Night") (1899). He later made an orchestral version of this, which became one of his most popular pieces. Both Richard Strauss and Gustav Mahler recognized Schoenberg's significance as
4050-464: A number of books, ranging from his famous Harmonielehre ( Theory of Harmony ) to Fundamentals of Musical Composition , many of which are still in print and used by musicians and developing composers. Schoenberg viewed his development as a natural progression, and he did not deprecate his earlier works when he ventured into serialism. In 1923 he wrote to the Swiss philanthropist Werner Reinhart : For
4212-613: A passage from Friedrich Nietzsche 's philosophical novel Also sprach Zarathustra . Orff studied at the Munich Academy of Music from 1912 until 1914. Orff later wrote that his decision to pursue music studies instead of completing Gymnasium was the source of family strife, as the Orff patriarch (his father's older brother, also named Karl Orff, 1863–1942) was against the idea. Orff had the support of his mother, who persuaded his father, and of his grandfather Köstler. Orff's teacher at
4374-537: A passive antinazi, and tried to avoid official and personal contact bot[h] with the Nazi movement and with the war. Some scholars have maintained that Orff deceived his evaluators to some degree. The counterpoint is that Orff misrepresented himself in some instances, but the Americans had enough information to assess him fundamentally correctly and rate him accordingly. The report notes some of Orff's financial support from
4536-656: A performance in Stuttgart, but when Gottfried von Einem asked him in 1946 about a premiere of this version at the Salzburg Festival , he demurred and responded defensively when Einem asked if the work had been a commission from the Third Reich. Orff made further revisions still, and this version was first performed on 30 October 1952 in Darmstadt. It also had an American performance by Leopold Stokowski at
4698-441: A performer of Western popular music creates a "cover" of an earlier song, there is little expectation of exact rendition of the original; nor is exact faithfulness necessarily highly valued (with the possible exception of "note-for-note" transcriptions of famous guitar solos ). In Western art music, the composer typically orchestrates their compositions, but in musical theatre and pop music, songwriters may hire an arranger to do
4860-473: A range of composition programs, including bachelor's degrees, Master of Music degrees, and Doctor of Musical Arts degrees. As well, there are a variety of other training programs such as classical summer camps and festivals, which give students the opportunity to get coaching from composers. Bachelor's degrees in composition (referred to as B.Mus. or B.M) are four-year programs that include individual composition lessons, amateur orchestra/choral experience, and
5022-467: A relationship with author Luise Rinser (1911–2002), whom he married in 1954. In 1955, they moved from Munich to Dießen am Ammersee . Their marriage was troubled and ended in divorce in 1959, by which time Orff was living with the person who would become his next wife. Orff's final marriage, which lasted to the end of his life, was with Liselotte Schmitz (1930–2012), who had been his secretary, and who after his death carried on his legacy in her capacity with
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5184-453: A sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Usually, composition students must complete significant pieces or songs before graduating. Not all composers hold a B.Mus. in composition; composers may also hold a B.Mus. in music performance or music theory. Master of Music degrees (M.mus.) in composition consists of private lessons with
5346-411: A soprano vocal line, breaking with previous string-quartet practice, and daringly weaken the links with traditional tonality . Both movements end on tonic chords, and the work is not fully non-tonal. During the summer of 1910, Schoenberg wrote his Harmonielehre ( Theory of Harmony , Schoenberg 1922), which remains one of the most influential music-theory books. From about 1911, Schoenberg belonged to
5508-467: A tendency to cluster in specific cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques, the most important cities for classical music can be quantitatively identified. Paris has been the main hub for western classical music in all periods. It was ranked fifth in the 15th and 16th centuries but first in
5670-686: A university, but it would be difficult in the 2010s to obtain a tenure track professor position with this degree. To become a tenure track professor, many universities require a doctoral degree . In composition, the key doctoral degree is the Doctor of Musical Arts , rather than the PhD ; the PhD is awarded in music, but typically for subjects such as musicology and music theory . Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D) degrees in composition provide an opportunity for advanced study at
5832-608: A valued friend. Orff wrote a tribute upon Katz's death in the form of a letter addressed to the deceased. Orff's Carmina Burana had its premiere in Frankfurt on 8 June 1937. It became very popular in Nazi Germany over the next few years. Historian Michael H. Kater wrote that "by 1945" it "[stood] out as the single universally important work produced during the entire span of the Third Reich". Oliver Rathkolb , however, has noted that subsequent popular perception has exaggerated
5994-492: A very difficult time breaking through and getting the credit they deserve." During the Medieval eras, most of the art music was created for liturgical (religious) purposes and due to the views about the roles of women that were held by religious leaders, few women composed this type of music, with the nun Hildegard von Bingen being among the exceptions. Most university textbooks on the history of music discuss almost exclusively
6156-725: A whole is called Trionfi , or "Triumphs". The work is 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. The medieval poems, written in Latin and an early form of German, are
6318-422: A wholly new person and begin in a certain sense entirely new. What must come, should come entirely better as the time that was. The coming fall, he was severely injured and nearly killed when a trench caved in, suffering amnesia , aphasia , and paralysis of his left-side. During his difficult recovery, he wrote to his father: I certainly never think of something that looks like the future. ... Since I am in
6480-474: Is a person who writes music . The term is especially used to indicate composers of Western classical music , or those who are composers by occupation. Many composers are, or were, also skilled performers of music. The term is descended from Latin , compōnō ; literally "one who puts together". The earliest use of the term in a musical context given by the Oxford English Dictionary
6642-415: Is a reference to Schoenberg's apparent "destiny" as the "Emancipator of Dissonance" . Schoenberg drew comparisons between Germany's assault on France and his assault on decadent bourgeois artistic values. In August 1914, while denouncing the music of Bizet , Stravinsky , and Ravel , he wrote: "Now comes the reckoning! Now we will throw these mediocre kitschmongers into slavery, and teach them to venerate
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6804-534: Is additionally mandolin in Oedipus der Tyrann and four tenor banjos in Prometheus . Following the premiere of Prometheus , Everett Helm wrote: Orff does not make things easy for either singers or audience. But the retention of the original text undoubtedly evoked a mood such as could not have been created by a modern language. "Prometheus" is not an opera in the usual sense. Like other works by Orff, it
6966-616: Is buried in the Andechs Abbey . His tombstone bears the Latin inscription Summus Finis (the Ultimate End), taken from the end of his last work, 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 reflects his interest in medieval German poetry . The trilogy as
7128-506: Is from Thomas Morley 's 1597 A Plain and Easy Introduction to Practical Music , where he says "Some wil [ sic ] be good descanters [...] and yet wil be but bad composers". "Composer" is a loose term that generally refers to any person who writes music. More specifically, it is often used to denote people who are composers by occupation, or those who work in the tradition of Western classical music . Writers of exclusively or primarily songs may be called composers, but since
7290-412: Is fundamentally different from that of his Phantasy for Violin and Piano, Op. 47 (1949). Ten features of Schoenberg's mature twelve-tone practice are generally characteristic, interdependent, and interactive according to Ethan Haimo: After some early difficulties, Schoenberg began to win public acceptance with works such as the tone poem Pelleas und Melisande at a Berlin performance in 1907. At
7452-729: Is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with expressionist movements in poetry and art. The second, 1908–1922, is typified by the abandonment of key centers , a move often described (though not by Schoenberg) as " free atonality ". The third, from 1923 onward, commences with Schoenberg's invention of dodecaphonic , or "twelve-tone" compositional method. Schoenberg's best-known students, Hanns Eisler , Alban Berg , and Anton Webern , followed Schoenberg faithfully through each of these intellectual and aesthetic transitions, though not without considerable experimentation and variety of approach. Beginning with songs and string quartets written around
7614-417: Is music theater in which the music is part of, and subordinated to, the dramatic whole. The voices declaim almost constantly – either in spoken rhythm or in a kind of psalmodic recitative. Only occasionally (and most effectively) does the stark psalmody give way to melismas that recall the more florid passages of Gregorian chant. There is no semblance of arias or concerted numbers. Composer A composer
7776-470: Is no claim about being in the White Rose. There is, however, a reference to Orff's relationship with Huber (see quoted passage under "Denazification"). Orff told Fred K. Prieberg in 1963 that he was afraid of being arrested as an associate of Huber, but made no claim that he had been involved in the White Rose himself. In 1960, Orff had described similar fears to an interviewer but explicitly said that he
7938-496: Is no evidence that Orff was ever reclassified, but since his license had no restrictions, this was not necessary. For Orff's psychological evaluation, Schaffner wrote: 1. A highly gifted, creative individual who scored high on intelligence tests ... Orff is diplomatic, ingratiating and ingenious. Retiring and unob[tr]usive, accustomed to independence and solitude since childhood, he has steadfastly pursued his career as an unattached composer. He has little personal need of "belonging" to
8100-403: Is remarkable for its tonal development of whole-tone and quartal harmony , and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances. Many of these features would typify the timbre -oriented chamber-music aesthetic of the coming century. Schoenberg's music from 1908 onward experiments in a variety of ways with
8262-521: Is significant", Berg asserted, parenthetically praising Schoenberg's "excess unheard-of since Bach ". Webern marveled at how "Schoenberg creates an accompaniment figure from a motivic particle", proclaiming "everything is thematic! There is ... not a single note ... that does not have a thematic basis." The urgency of musical constructions lacking in tonal centers or traditional dissonance-consonance relationships can be traced as far back as Schoenberg's Chamber Symphony No. 1 , Op. 9 (1906). This work
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#17327879330828424-404: Is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their music are interpreting, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and
8586-734: Is the highly influential Pierrot lunaire , Op. 21, of 1912, a novel cycle of expressionist songs set to a German translation of poems by the Belgian-French poet Albert Giraud . Utilizing the technique of Sprechstimme , or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. The ensemble, which is now commonly referred to as the Pierrot ensemble , consists of flute (doubling on piccolo ), clarinet (doubling on bass clarinet ), violin (doubling on viola), violoncello, speaker, and piano. Wilhelm Bopp [ de ] ), director of
8748-823: The Marseillaise . Post-war Vienna beckoned with honorary citizenship , but Schoenberg was ill as depicted in his String Trio (1946). As the world learned of the Holocaust , he memorialized its victims in A Survivor from Warsaw (1947). The Israel Conservatory and Academy of Music elected him honorary president (1951). His innovative music was among the most influential and polemicized of 20th-century classical music. At least three generations of composers extended its somewhat formal principles. His aesthetic and music-historical views influenced musicologists Theodor W. Adorno and Carl Dahlhaus . The Arnold Schönberg Center collects his archival legacy. Arnold Schoenberg
8910-539: The Variations for Orchestra , Op. 31 (1928); Begleitungsmusik zu einer Lichtspielscene , Op. 34 (1930); Piano Pieces , Opp. 33a & b (1931), and the Piano Concerto , Op. 42 (1942). Contrary to its reputation for doctrinaire strictness, Schoenberg's technique varied according to the musical demands of each composition. Thus the musical structure of his unfinished opera Moses und Aron
9072-604: The Baroque music era, many composers were employed by aristocrats or as church employees. During the Classical period , composers began to organize more public concerts for profit, which helped composers to be less dependent on aristocratic or church jobs. This trend continued in the Romantic music era in the 19th century. In the 20th century, composers began to seek employment as professors in universities and conservatories. In
9234-511: The Nazi Party has been a matter of considerable debate and analysis, sometimes colored by misinformation. Historian Michael H. Kater , whose work is critical of Orff, nevertheless wrote that "Carl Orff's name to many has become synonymous with fascist art and culture, frequently by way of a rather cavalier prejudgment." Orff never joined the Party, nor did he have any leadership position with
9396-531: The Renaissance music era, composers typically worked for aristocratic employers. While aristocrats typically required composers to produce a significant amount of religious music, such as Masses , composers also penned many non-religious songs on the topic of courtly love : the respectful, reverential love of a great woman from afar. Courtly love songs were very popular during the Renaissance era. During
9558-762: The Salzburg Festival . Orff followed Antigonae with Oedipus der Tyrann , also using Hölderlin's translation of Sophocles's play , and Prometheus, using the original language of the Greek play 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 to the texts. The Greek tragedies are scored for highly unusual ensembles centered on large percussion ensembles, which include non-Western instruments and numerous mallet instruments (including lithophone ), and several pianos (four in Prometheus and six in
9720-569: The Vienna Conservatory from 1907, wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Graedener . Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912. At the time Schoenberg lived in Berlin. He was not completely cut off from the Vienna Conservatory, having taught a private theory course a year earlier. He seriously considered
9882-1093: The chromatic scale in his twelve-tone music, often exploiting combinatorial hexachords and sometimes admitting tonal elements. Schoenberg resigned from the Prussian Academy of Arts (1926–1933), emigrating as the Nazis took power; they banned his (and his students') music, labeling it " degenerate ". He taught in the US, including at the University of California, Los Angeles (1936–1944), where facilities are named in his honor . He explored writing film music (as he had done idiosyncratically in Begleitungsmusik zu einer Lichtspielscene , 1929–1930) and wrote more tonal music, completing his Chamber Symphony No. 2 in 1939. With citizenship (1941) and US entry into World War II , he satirized fascist tyrants in Ode to Napoleon (1942, after Byron ), deploying Beethoven's fate motif and
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#173278793308210044-400: The orchestration of the accompaniment parts and writing of the overture is done by an orchestrator, and the words may be written by a third person. A piece of music can also be composed with words, images, or, in the 20th and 21st centuries, computer programs that explain or notate how the singer or musician should create musical sounds. Examples of this range from wind chimes jingling in
10206-429: The "truly revolutionary nature" of his new system, misinformation disseminated by some early writers about the system's "rules" and "exceptions" that bear "little relation to the most significant features of Schoenberg's music", the composer's secretiveness, and the widespread unavailability of his sketches and manuscripts until the late 1970s. During his life, Schoenberg was "subjected to a range of criticism and abuse that
10368-427: The 17th to 20th centuries inclusive. London was the second most meaningful city: eighth in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eighth in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in
10530-410: The 20th century the terms ' songwriter ' or ' singer-songwriter ' are more often used, particularly in popular music genres. In other contexts, the term 'composer' can refer to a literary writer, or more rarely and generally, someone who combines pieces into a whole. Across cultures and traditions composers may write and transmit music in a variety of ways. In much popular music, the composer writes
10692-422: The 20th century, composers also earned money from the sales of their works, such as sheet music publications of their songs or pieces or as sound recordings of their works. In 1993, American musicologist Marcia Citron asked, "Why is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from
10854-523: The Akademie was the composer Anton Beer-Walbrunn , of whom he later wrote with respect but said that he found the academy overall to be "conservative and old-fashioned" ( konservativ und altväterlich ). At this time, he studied the works of Arnold Schoenberg , and one of his most important influences at this time was the French composer Claude Debussy . These influences can be heard in his first stage work,
11016-549: The Carl-Orff Stiftung. They married in Andechs on 10 May 1960. Born to devout Roman Catholic parents, Orff broke from religious dogma at a young age. His daughter tied his break from the church to the suicide of a classmate, and she reported that he did not have her baptized. Gertrud Orff said that "he never went to church; to the contrary. It was probably the time of inner rebellion against things like that. ... He
11178-607: The Empire State Music Festival on 19 July 1956. Orff revised the score yet again in 1962; this final version had its first performance on in Stuttgart on 12 March 1964. Orff was a friend of Kurt Huber (1893–1943), a professor at Ludwig Maximilian University , with whom he worked since 1934 on Bavarian folk music. Together with Orff's Schulwerk associate Hans Bergese (1910–2000), they published two volumes of folk music as Musik der Landschaft: Volksmusik in neuen Sätzen in 1942. In December 1942, Huber became
11340-466: The Frankfurt commission; no materials from these earlier (presumably incomplete) versions are extant. Orff's publisher had serious reservations about the project, and Orff's commission was unable to make the original deadline of the commission, resulting in the reduction of his payment from 5,000 RM to 3,000 RM. He later called the 1939 iteration "a compromised (unfortunately printed) version. In place of
11502-531: The German Army in August 1917, which was a great crisis for him. In a letter to his father dated 3 August 1917, he wrote: My future lies now more than ever completely in the dark. That I [shall] go into the battlefield is absolutely certain. Here the decision should, and will, fall (you know that I am free from sentimentality): either I find an end of everything that has pushed and almost crushed me, or I become
11664-708: The German spirit and to worship the German God". Alex Ross described this as an "act of war psychosis". The deteriorating relation between contemporary composers and the public led him to found the Society for Private Musical Performances ( Verein für musikalische Privataufführungen in German) in Vienna in 1918. He sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed, and properly performed under conditions protected from
11826-800: The Günther-Schule for gymnastics, music, and dance in Munich. He developed his theories of music education, having constant contact with children and working with musical beginners. In 1930, Orff published a manual titled Schulwerk , in which he shares his method of conducting. He was involved with the Schulwerk and its associated institutions throughout his life, although he retired from 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 ,
11988-458: The Hollywood orchestrator Edward B. Powell studied with Schoenberg at this time. After his move to the United States, where he arrived on 31 October 1933, the composer used the alternative spelling of his surname Schoenberg , rather than Schönberg , in what he called "deference to American practice", though according to one writer he first made the change a year earlier. He lived there
12150-409: The Nazi period but not subscribers to Nazi doctrine". Some sources report that Orff had been blacklisted before the evaluation, which would have prevented him from collecting royalties on his compositions. According to more recent research by Oliver Rathkolb, there is no evidence to support this. In January 1946, American officer Newell Jenkins (1915–1996) – Orff's former student (with whom he used
12312-508: The Nazi regime who wrote new incidental music for William Shakespeare 's A Midsummer Night's Dream —in German Ein Sommernachtstraum —after the music of Felix Mendelssohn for that play had been banned. Orff's version was first performed on 14 October 1939 in Frankfurt as the result of a commission through that city. By his report, he had already composed music for the play as early as 1917 and 1927, long before
12474-628: The Six Pieces for Male Chorus Op. 35, the other pieces being dodecaphonic. Schoenberg continued in his post until the Nazis seized power in 1933. While on vacation in France, he was warned that returning to Germany would be dangerous. Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue, then emigrated to the United States with his family. He subsequently gave brief consideration to moving again, either to England or
12636-536: The Soviet Union. His first teaching position in the United States was at the Malkin Conservatory ( Boston University ). He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles , both of which later named a music building on their respective campuses Schoenberg Hall. He was appointed visiting professor at UCLA in 1935 on
12798-400: The Stuttgart position by early March 1946, but Jenkins still insisted Orff undergo an evaluation at the end of that month. Schaffner's report notes: "Orff does not wish a license as 'Intendant' of an opera-house, and states that he has already refused such an offer, because the work would be primarily administrative and not musical. He wishes to have permission to appear as guest-conductor." Orff
12960-502: The Third Reich, one of whom recalled that Jenkins had been trying to portray Orff as a "resistance fighter" ( Widerstandskämpfer ) and thus believed that Jenkins had been the source of the alleged legend. A few years later, Viennese historian Oliver Rathkolb discovered Orff's denazification file, which was distributed to reporters in a press conference at the Orff-Zentrum München on 10 February 1999. In this document, there
13122-569: The Third Reich. He was a member of the Reichsmusikkammer , which was required of active musicians in the Third Reich. Several of Orff's friends and associates went into exile between 1933 and 1939, including Sachs and Leo Kestenberg , the latter of whom was an advocate for his Schulwerk. Orff reconnected with several of these exiled colleagues after the war and in some cases maintained lifelong friendships, as with singer and composer Karel Salmon [ de ] , who emigrated within
13284-576: The Vienna première of the Gurre-Lieder in 1913, he received an ovation that lasted a quarter of an hour and culminated with Schoenberg's being presented with a laurel crown. Nonetheless, much of his work was not well received. His Chamber Symphony No. 1 premièred unremarkably in 1907. However, when it was played again in the Skandalkonzert on 31 March 1913, (which also included works by Berg , Webern and Zemlinsky ), "one could hear
13446-466: The Western world, before the Romantic period of the 19th century, composition almost always went side by side with a combination of either singing, instructing and theorizing . Even in a conventional Western piece of instrumental music, in which all of the melodies , chords , and basslines are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to
13608-461: The White Rose resistance movement in Germany. Kater also made a particularly strong case that Orff collaborated with Nazi German authorities. The source for the White Rose claim was a 1993 interview with Jenkins. Kater described his finding as "nothing less than sensational" ( nichts weniger als sensationell ). The episode was the source of considerable strife. The controversy elicited objections from two people who had known Orff in their youth during
13770-428: The White Rose without any reference to the denazification file. While Kater's account has been accepted by some scholars who have investigated the matter further, Rathkolb and others have examined the theory that Orff lied about being a member of the resistance and found insufficient evidence to believe it, noting there is no solid corroboration outside of Kater's interview with Jenkins. Writing in 2021, Siegfried Göllner
13932-428: The absence of traditional keys or tonal centers . His first explicitly atonal piece was the second string quartet , Op. 10, with soprano. The last movement of this piece has no key signature, marking Schoenberg's formal divorce from diatonic harmonies. Other important works of the era include his song cycle Das Buch der Hängenden Gärten , Op. 15 (1908–1909), his Five Orchestral Pieces , Op. 16 (1909),
14094-735: The battlefield, all threads and connections from earlier are torn to shreds. ... For him who has been out here once, it is better (especially in my profession) that he remains out here. When I hear music I get palpitations & fever and it makes me sick; I can't think at all about when I might be able to hear a concert again, let alone make music myself. After Orff's death, his daughter wrote that she believed this experience "made him think and rebel yet more revolutionarily." After recovering from his battle injuries, Orff held various positions at opera houses in Mannheim and Darmstadt , later returning to Munich to pursue his music studies. Around 1920, Orff
14256-787: The central figure of the Second Viennese School . They consorted with visual artists, published in Der Blaue Reiter , and wrote atonal , expressionist music , attracting fame and stirring debate. In his String Quartet No. 2 (1907–1908), Erwartung (1909), and Pierrot lunaire (1912), Schoenberg visited extremes of emotion; in self-portraits he emphasized his intense gaze. While working on Die Jakobsleiter (from 1914) and Moses und Aron (from 1923), Schoenberg confronted popular antisemitism by returning to Judaism and substantially developed his twelve-tone technique . He systematically interrelated all notes of
14418-536: The cities of Frankfurt and Vienna, his participation in the 1936 Summer Olympics , and the music for A Midsummer Night's Dream (although the number of its performances was undercounted), which Orff said he wrote "from his own private musical point of view" but "admit[ted] that he chose an unfortunate moment in history to write it." Orff said "that he never got a favorable review by a Nazi music critic"; however, his work had been enthusiastically received by audiences and many critics. He also said that "[h]is great success"
14580-411: The composer's parents "nevertheless always remained lovingly inclined toward him, even when his way of life did not meet their expectations", and Orff and his sister "were watched over and supported with loving tolerance." She also wrote that her father's mother, Paula Orff, always fostered her son's creativity and gave him "the gift of inspiration". Orff himself wrote of his mother: "From time immemorial I
14742-597: The conventional sense. Live performances of them have been few, even in Germany. In a letter dated 8 January 1947 to his student Heinrich Sutermeister , Orff called Die Bernauerin "the last piece in the series of my earlier work; Antigonae starts a new phase." Antigonae is a setting of Friedrich Hölderlin's translation of the play by Sophocles . Orff first became interested in this source material shortly after his trauma in World War I and began planning his work late in 1940. The premiere took place on 9 August 1949 at
14904-528: The definition of composition is broad enough for the creation of popular and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers . During the Middle Ages, most composers worked for the Catholic church and composed music for religious services such as plainchant melodies. During
15066-438: The degree of its importance to the culture of the Third Reich, as numerous other works received more stagings. Given Orff's previous lack of commercial success, the monetary gains from Carmina Burana ' s acclaim, including a 500 RM award from the city of Frankfurt , were significant to him but the composition, with its unfamiliar rhythms, was also denounced with racist taunts. Orff was one of numerous German composers under
15228-570: The dictates of fashion and pressures of commerce. From its inception until its dissolution amid Austrian hyperinflation , the Society presented 353 performances to paying members, sometimes weekly. During the first year and a half, Schoenberg did not let any of his own works be performed. Instead, audiences at the Society's concerts heard difficult contemporary compositions by Scriabin , Debussy , Mahler, Webern, Berg, Reger , and other leading figures of early 20th-century music. Later, Schoenberg
15390-492: The dictatorship – and the insistence of the composer on a purely artistic, aesthetic viewpoint inevitably changed under this condition to a momentous error." Orff went on to rework his Ein Sommernachtstraum score three times. The next version was to have its premiere on 10 September 1944, but the closure of all theaters in dire wartime conditions prevented it from occurring. In December 1945, Orff expressed hope for
15552-623: The difficult Violin Concerto , Op. 36 (1934/36), the Kol Nidre , Op. 39, for chorus and orchestra (1938), the Ode to Napoleon Buonaparte , Op. 41 (1942), the haunting Piano Concerto , Op. 42 (1942), and his memorial to the victims of the Holocaust , A Survivor from Warsaw , Op. 46 (1947). He was unable to complete his opera Moses und Aron (1932/33), which was one of
15714-399: The entire gravity of the loss." Godela Orff 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 . Their relationship became especially strained in the late 1940s; they reconciled around the early 1970s. Orff died of cancer in Munich on 29 March 1982, at the age of 86. He
15876-703: The first few months of the Nazi takeover. Another such figure is the art historian Albin von Prybram-Gladona (1890–1974), whose parents had converted from Judaism before his birth and who survived multiple incarcerations in concentration camps after he fled to France. Prybram-Gladona testified to Orff's character during the denazification process. Another important friend to Orff was the German-Jewish musicologist and composer Erich Katz (1900–1973), who fled in 1939 after temporary incarceration in Dachau . Orff reestablished contact with Katz in 1952, and Katz considered Orff
16038-676: The first works of its genre written completely using dodecaphonic composition . Along with twelve-tone music, Schoenberg also returned to tonality with works during his last period, like the Suite for Strings in G major (1935), the Chamber Symphony No. 2 in E ♭ minor, Op. 38 (begun in 1906, completed in 1939), the Variations on a Recitative in D minor, Op. 40 (1941). During this period his notable students included John Cage and Lou Harrison . In 1941, he became
16200-503: The guidance of faculty composition professors. Some schools require DMA composition students to present concerts of their works, which are typically performed by singers or musicians from the school. The completion of advanced coursework and a minimum B average are other typical requirements of a D.M.A program. During a D.M.A. program, a composition student may get experience teaching undergraduate music students. Some composers did not complete composition programs, but focused their studies on
16362-552: The highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Students must submit examples of their compositions. If available, some schools will also accept video or audio recordings of performances of the student's pieces. Examinations in music history, music theory, ear training/dictation, and an entrance examination are required. Students must prepare significant compositions under
16524-540: The idea of emigrating to New Zealand. His secretary and student Richard Hoffmann , the nephew of Schoenberg's mother-in-law Henriette Kolisch, lived in New Zealand in 1935–1947. Schoenberg had since childhood been fascinated with islands and with New Zealand in particular, possibly because of its postage stamps. He abandoned the idea of moving to New Zealand after his health began to decline in 1944. During this final period, he composed several notable works, including
16686-405: The increased use by composers of more detailed scoring in the form of dynamics, articulation et cetera; composers became uniformly more explicit in how they wished their music to be interpreted, although how strictly and minutely these are dictated varies from one composer to another. Because of this trend of composers becoming increasingly specific and detailed in their instructions to the performer,
16848-706: The influential Pierrot lunaire , Op. 21 (1912), as well as his dramatic Erwartung , Op. 17 (1909). Surveying Schoenberg's Opp. 10, 15–16, and 19, Webern argued: "It creates entirely new expressive values; therefore it also needs new means of expression. Content and form cannot be separated." Analysts (most prominently Allen Forte ) so emphasized motivic shapes in Schoenberg's (and Berg's and Webern's) "free atonal" music that Benjamin Boretz and William Benjamin suggested referring to it as "motivic" music. Schoenberg himself described his use of
17010-528: The informal du ), who went on to have a career as a conductor – informed him that he did not need a license as a composer if he was not seeking to conduct, teach, or otherwise appear in public. Jenkins, however, hoped that Orff would take an Intendant position in Stuttgart, which Orff was considering after initially saying no. This would require evaluation, and thus Jenkins encouraged Orff to think of how he could prove that he had actively resisted Nazism, as such persons were most highly valued. Orff turned down
17172-503: The latter of which was never publicly known while he was alive. Nor is there any mention of the potentially subversive and anti-authoritarian texts in his works, notably the passages in Die Kluge (premiere 1943) that have been identified as such, sometimes even during Orff's lifetime (including by Carl Dahlhaus ). According to Michael Kater , Orff cleared his name during the denazification period by claiming that he had helped establish
17334-578: The limits of the Lied genre. Schoenberg's Six Songs, Op. 3 (1899–1903), for example, exhibit a conservative clarity of tonal organization typical of Brahms and Mahler, reflecting an interest in balanced phrases and an undisturbed hierarchy of key relationships. However, the songs also explore unusually bold incidental chromaticism and seem to aspire to a Wagnerian "representational" approach to motivic identity. The synthesis of these approaches reaches an apex in his Verklärte Nacht , Op. 4 (1899),
17496-544: The meaning that the Carmina Burana held in my creations up to that point, as was clear to me myself." When asked about the quotation in 1975, Orff replied: "For the first time I had done exactly what I wanted, and I also knew that I had treated it right. Really there is nothing more to say." Orff went on to revise many of his earlier works, and later in his career he reissued some of his pre- Carmina Burana compositions with minimal revisions. One of his final publications
17658-400: The mid-20th century was Nadia Boulanger . Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." Women today are being taken more seriously in the realm of concert music, though the statistics of recognition, prizes, employment, and overall opportunities are still biased toward men. Famous composers have
17820-614: 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 . Pasolini was concerned with the question of art being appropriated by power when he made the film, which has relevance to Orff's situation. Orff often said that, following a dress rehearsal for Carmina Burana , he told his publisher the following: "Everything that I have written up until now and that you, unfortunately, have printed you now can pulp. With Carmina Burana begins my collected works." Michael H. Kater has called this statement into question, citing
17982-400: The music are varied, depending on the musical culture in the country and the time period it was written. For instance, music composed in the Baroque era , particularly in slow tempos, often was written in bare outline, with the expectation that the performer would add improvised ornaments to the melody line during a performance. Such freedom generally diminished in later eras, correlating with
18144-686: The music drama Gisei: Das Opfer ( Gisei: The Sacrifice , Opus 20), written in 1913 but not performed until 2010. Orff's source material is a German translation of part of Sugawara Denju Tenarai Kagami , specifically "Terakoya" ("The Village School") in Act IV. In 1914 Orff wrote Tanzende Faune: Ein Orchesterspiel (Opus 21). The work was to be performed at the Akademie ;– his first performance by an orchestra – but conductor Eberhard Schwickerath [ de ] removed it from
18306-442: The next year Schoenberg married Gertrud Kolisch (1898–1967), sister of his pupil, the violinist Rudolf Kolisch . They had three children: Nuria Dorothea (born 1932), Ronald Rudolf (born 1937), and Lawrence Adam (born 1941). Gertrude Kolisch Schoenberg wrote the libretto for Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda. At her request Schoenberg's (ultimately unfinished) piece, Die Jakobsleiter
18468-448: The octave (usually unrealized compositionally) are regarded as equal, and no one note or tonality is given the emphasis it occupied in classical harmony. Schoenberg regarded the twelve-tone system as the equivalent in music of Albert Einstein 's discoveries in physics. Schoenberg told Josef Rufer , "I have made a discovery which will ensure the supremacy of German music for the next hundred years". Among Schoenberg's twelve-tone works are
18630-404: The offer, but he declined. Writing afterward to Alban Berg, he cited his "aversion to Vienna" as the main reason for his decision, while contemplating that it might have been the wrong one financially, but having made it he felt content. A couple of months later he wrote to Schreker suggesting that it might have been a bad idea for him as well to accept the teaching position. World War I brought
18792-435: The orchestration. In some cases, a pop songwriter may not use notation at all, and, instead, compose the song in their mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The study of composition has traditionally been dominated by the examination of methods and practice of Western classical music, but
18954-491: The other two); the traditional string section is dispensed with excepting nine contrabasses. They also have six flutes and six oboes (with various auxiliary doublings of piccolo, alto flute, and English horn), as well as trumpets (six in Antigonae and Prometheus ; eight in Oedipus der Tyrann , behind the scene). Oedipus der Tyrann and Prometheus also have six trombones and organ. All three works also have four harps; there
19116-405: The performance of voice or an instrument or on music theory , and developed their compositional skills over the course of a career in another musical occupation. Arnold Schoenberg Arnold Schoenberg or Schönberg (13 September 1874 – 13 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first modernists who transformed
19278-408: The performer elaborating seriously the music as given in the score, particularly for Baroque music and music from the early Classical period . The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise . In genres other than classical music, the performer generally has more freedom; thus for instance when
19440-452: The practice of harmony in 20th-century classical music , and a central element of his music was its use of motives as a means of coherence. He propounded concepts like developing variation , the emancipation of the dissonance , and the " unity of musical space ". Schoenberg's early works, like Verklärte Nacht (1899), represented a Brahmsian – Wagnerian synthesis on which he built. Mentoring Anton Webern and Alban Berg , he became
19602-530: The present, it matters more to me if people understand my older works ... They are the natural forerunners of my later works, and only those who understand and comprehend these will be able to gain an understanding of the later works that goes beyond a fashionable bare minimum. I do not attach so much importance to being a musical bogey-man as to being a natural continuer of properly-understood good old tradition! His first wife died in October 1923, and in August of
19764-402: The program following an unsuccessful rehearsal; it was first performed in 1995. In 1915, he began studying piano with Hermann Zilcher . Writing to his father, he called the studies with Zilcher his most productive teacher relationship to date. Around this time he also came to know theater director Otto Falckenberg , and saw plays by August Strindberg and Frank Wedekind . Orff was forced into
19926-479: The received ' canon ' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. According to Abbey Philips, "women musicians have had
20088-1238: The recommendation of Otto Klemperer , music director and conductor of the Los Angeles Philharmonic Orchestra ; and the next year was promoted to professor at a salary of $ 5,100 per year, which enabled him in either May 1936 or 1937 to buy a Spanish Revival house at 116 North Rockingham in Brentwood Park , near the UCLA campus, for $ 18,000. This address was directly across the street from Shirley Temple 's house, and there he befriended fellow composer (and tennis partner) George Gershwin . The Schoenbergs were able to employ domestic help and began holding Sunday afternoon gatherings that were known for excellent coffee and Viennese pastries. Frequent guests included Otto Klemperer (who studied composition privately with Schoenberg beginning in April 1936), Edgard Varèse , Joseph Achron , Louis Gruenberg , Ernst Toch , and, on occasion, well-known actors such as Harpo Marx and Peter Lorre . Composers Leonard Rosenman and George Tremblay and
20250-540: The repertory of modern art music extend over a period of more than 50 years. Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied. The idea that his twelve-tone period "represents a stylistically unified body of works is simply not supported by the musical evidence", and important musical characteristics—especially those related to motivic development —transcend these boundaries completely. The first of these periods, 1894–1907,
20412-553: The rest of his life, but at first he was not settled. In 1934, he applied for a teacher of harmony and theory position at the New South Wales State Conservatorium in Sydney. Vincent Plush discovered his application in the 1970s. It bore two notes in different handwriting: "Jewish" in one and "Modernist ideas and dangerous tendencies" in another marked E.B. ( Edgar Bainton ). Schoenberg also explored
20574-430: The role of male composers. As well, very few works by women composers are part of the standard repertoire of classical music. In Concise Oxford History of Music , " Clara Shumann [ sic ] is one of the only female composers mentioned", but other notable women composers of the common practice period include Fanny Mendelssohn and Cécile Chaminade , and arguably the most influential teacher of composers during
20736-516: The shrill sound of door keys among the violent clapping, and in the second gallery the first fight of the evening began." Later in the concert, during a performance of the Altenberg Lieder by Berg, fighting broke out after Schoenberg interrupted the performance to threaten removal by the police of any troublemakers. According to Ethan Haimo, the general understanding of Schoenberg's twelve-tone work has been difficult to achieve because of
20898-418: The small onstage ensemble there was again a normal small opera orchestra, no more magical percussion, all inexcusable concessions." The composer's discontent, together with his initial difficulties in composition, sometimes has been interpreted at least in part as due to pangs of conscience. Thomas Rösch has written of this project: "The autonomy of art, which Orff always held highly, was only more illusion within
21060-402: The song cycle Das Buch der Hängenden Gärten Op. 15. He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope . Rudhyar did this and told Schoenberg that the year was dangerous, but not fatal. But in 1950, on his 76th birthday, an astrologer wrote Schoenberg a note warning him that the year was
21222-540: The song set Frühlingslieder (Opus 1, text by Ludwig Uhland ) and the song cycle Eliland: Ein Sang von Chiemsee (Opus 12, text by Karl Stieler ). The poet whose work he most frequently used was Heinrich Heine ; he also chose texts of Walther von der Vogelweide , Princess Mathilde of Bavaria (1877–1906) , Friedrich Hölderlin , Ludwig August Frankl , Hermann Lingg , Rudolf Baumbach , Richard Beer-Hofmann , and Börries von Münchhausen , among others. Orff's songs fell into
21384-447: The statement of Jenkins." In 1999, at the height of the controversy, musicologist Reinhard Schulz described the affair as a "scholarly cockfight" ( wissenschaftlichen Hahnenkampfes ), adding: "Far more important than a single fact would be an understanding of [the] connection" to Orff's life and creativity. Carl Orff was very guarded as to his personal life. When asked by the theater scholar Carl Niessen [ de ] to provide
21546-436: The style of Richard Strauss and other German composers of the day, but with hints of what would become Orff's distinctive musical language. Some of his songs were published in 1912. These include Eliland , with a dedication to Karl Köstler, who funded the publication. In 1911–12, Orff wrote Zarathustra (Opus 14), a large work for baritone voice, three tenor-bass choruses, winds, percussion, harps, pianos, and organ, based on
21708-401: The summer of 1908, Schoenberg's wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl (who committed suicide in that November after Mathilde returned to her marriage). This period marked a distinct change in Schoenberg's work. It was during the absence of his wife that he composed "You lean against a silver-willow" (German: Du lehnest wider eine Silberweide ),
21870-578: The thirteenth song in the cycle Das Buch der Hängenden Gärten , Op. 15, based on the collection of the same name by the German mystical poet Stefan George . This was the first composition without any reference at all to a key . Also in this year, Schoenberg completed one of his most revolutionary compositions, the String Quartet No. 2 . The first two movements, though chromatic in color, use traditional key signatures . The final two movements, again using poetry by George, incorporate
22032-440: The top ten rankings only in the 18th century and was ranked third most important city in both the 19th and 20th centuries. New York City entered the rankings in the 19th century (in fifth place) and stood at second rank in the 20th century. The patterns are very similar for a sample of 522 top composers. Professional classical composers often have a background in performing classical music during their childhood and teens, either as
22194-445: The turn of the century, Schoenberg's concerns as a composer positioned him uniquely among his peers, in that his procedures exhibited characteristics of both Brahms and Wagner , who for most contemporary listeners, were considered polar opposites, representing mutually exclusive directions in the legacy of German music. Schoenberg's Zwei Gesänge , Op. 1 , first performed in 1903, set two contemporary poems to expressive music bordering
22356-405: The war, Clara Huber asked Orff to contribute to a memorial volume for her husband; he contributed an emotional letter written directly to Kurt Huber, similar to what he did for Katz years later. Orff's Die Bernauerin , a project which he completed in 1946 and which he had discussed with Huber before the latter's execution, is dedicated to Huber's memory. The final scene of this work, which is about
22518-449: The work are organized in two ways simultaneously; at once suggesting a Wagnerian narrative of motivic ideas, as well as a Brahmsian approach to motivic development and tonal cohesion. Citing Berg and Webern on Schoenberg's String Quartet No. 1, Op. 7 (1904–1905), Joseph N. Straus emphasized the importance of "motivic coherence" in the three's œuvres more generally. "Every smallest turn of phrase , even accompanimental figuration
22680-422: The work, by such means as by varying their articulation and phrasing , choosing how long to make fermatas (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as vibrato or portamento . For a singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated
22842-710: The wrongful execution of Agnes Bernauer , depicts a guilt-ridden chorus begging not to be implicated in the title character's death. In late March 1946, Orff underwent a denazification process in Bad Homburg at a psychological screening center of the Information Control Division (ICD), a department of the Office of Military Government, United States (OMGUS). Orff was rated "Grey C, acceptable", which his evaluator Bertram Schaffner (1912–2010) defined as for those "compromised by their actions during
23004-470: Was Bavarian and was active in the Imperial German Army ; his father was an army officer with strong musical interests, and his mother was a trained pianist. His grandfathers, Carl von Orff (1828–1905) and Karl Köstler (1837–1924), were both major generals and also scholars. His paternal grandmother, Fanny Orff (née Kraft, 1833–1919), was Catholic of Jewish descent. His maternal grandmother
23166-500: Was "ruined" ( ruiniert ). Clara Huber later said she never saw Orff again, but there is documentary evidence that they had further contact. On at least one occasion, she recalled that Orff had attempted to help her husband through Baldur von Schirach (the highest-ranking Nazi official with whom he came into contact, and whom he met at least twice), for which no further evidence has been found. In June 1949, Orff transferred his rights to Musik der Landschaft to Huber's family. Shortly after
23328-461: Was Maria Köstler (née Aschenbrenner, 1845–1906). Orff had one sibling, his younger sister Maria ("Mia", 1898–1975), who married the architect Alwin Seifert (1890–1972) in 1924. Despite his family's military background, Orff recalled in 1970: "In my father's house there was certainly more music making than drilling." At age five, he began to play piano, and later studied cello and organ. He composed
23490-411: Was a real mother's boy. In life's serious and most difficult situations she understood me deeply with her heart, even if her ideas, strongly set in tradition, stood in the way of it." Paula Orff died on 22 July 1960, after which Orff's colleague Karl Amadeus Hartmann wrote to him: "I know how intimately bonded you were with your mother, similar to me with mine, and can therefore especially sympathize with
23652-542: Was a religious person, yes. But not a person of the church." Nevertheless, he wanted to be buried in the Baroque church of the beer-brewing Benedictine priory of Andechs , southwest of Munich; he could see this monastery from his home in Dießen . Orff had no desire to follow in his family's military tradition, even as a child. He later wrote: "My father [Heinrich Orff] knew that everything soldierly lay far from me and that I could not warm up to it." According to Godela Orff,
23814-615: Was a volume of songs he had composed between 1911 and 1920. Most of Orff's later works – Antigonae (1949), Oedipus der Tyrann [ de ] ( Oedipus the 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 extend the language of Carmina Burana in interesting ways, but they are expensive to stage and (on Orff's own characterization) are not operas in
23976-477: Was almost unknown in the 1920s, and Orff's production met with reactions ranging from incomprehension to ridicule. He told his mentor Curt Sachs , who had led him to study Monteverdi and supported his Orpheus , that the Munich press was against him: "I am made out to be not only a violator of corpses (see Monteverdi), but also a youth-seducer, who systematically corrupts our good youth with exotic perversities." Orff's relationship with German National Socialism and
24138-522: Was born into a lower middle-class Jewish family in the Leopoldstadt district (in earlier times a Jewish ghetto ) of Vienna, at Obere Donaustraße 5. His father Samuel, a native of Szécsény , Hungary, later moved to Pozsony (Pressburg, at that time part of the Kingdom of Hungary, now Bratislava , Slovakia) and then to Vienna, was a shoe- shopkeeper , and his mother Pauline Schoenberg (née Nachod),
24300-480: Was born on 21 February 1921. The couple separated about six months after Godela's birth and were divorced officially in 1927. Godela remained with her father when her mother moved to Melbourne to pursue her career around 1930. In 1939, Orff married Gertrud Willert (1914–2000), who had been his student and who founded a method of music therapy using the Orff-Schulwerk; they divorced in 1953. By 1952, he began
24462-591: Was converted by the "thunderbolt" of Mahler's Third Symphony , which he considered a work of genius. Afterward he "spoke of Mahler as a saint". In 1898 Schoenberg converted to Christianity in the Lutheran church. According to MacDonald (2008, 93) this was partly to strengthen his attachment to Western European cultural traditions, and partly as a means of self-defence "in a time of resurgent anti-Semitism". In 1933, after long meditation, he returned to Judaism, because he realised that "his racial and religious heritage
24624-528: Was deferred ... during the war is contradictory to his claim that he was not well thought of at the Propaganda Ministry. ... He does not give a very good [e]xplanation." The report likewise notes Orff's very sharp rise in income in the latter part of the Third Reich. Surprisingly absent from the report are several factors that Orff could have used in his favor, notably his associations with Jewish colleagues as well as his own partly Jewish ancestry,
24786-410: Was drawn to the poetry of Franz Werfel , which became the basis for numerous Lieder and choral compositions. In the mid-1920s, he 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
24948-640: Was granted a license without any restrictions despite his rating of "'Grey C', acceptable", but there is no evidence that he conducted in public after the war. Schaffner believed that the root causes of Nazism included an underlying societal rigidity and authoritarianism in Germany, especially as they pertained to fathers in family life and institutions such as the school and the military. His theories informed his and his colleagues' denazification evaluations. In his report on Orff, Schaffner wrote: O[rff]'s attitudes are not Nazi. One of his best friends, Prof. Carl [sic] Huber, with whom he published "Musik der Landschaft",
25110-625: Was in 1942 with a performance of Carmina Burana in La Scala in Milan , "not under the auspices of the Propaganda Ministry." In fact, Orff later publicly characterized the second staging of Carmina Burana , which took place in Dresden on 4 October 1940, as the beginning of his great success. The American evaluators disbelieved Orff's account of his reception in the Third Reich: "The fact that he
25272-525: Was inescapable", and to take up an unmistakable position on the side opposing Nazism. He would self-identify as a member of the Jewish religion later in life. In October 1901, Schoenberg married Mathilde Zemlinsky, the sister of the conductor and composer Alexander von Zemlinsky , with whom Schoenberg had been studying since about 1894. Schoenberg and Mathilde had two children, Gertrud (1902–1947) and Georg (1906–1974). Gertrud would marry Schoenberg's pupil Felix Greissle [ de ] in 1921. During
25434-517: 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 ), an earthy, quasi-folkloric depiction of Russian peasant wedding rites, that appealed to Orff. Orff came to know the work of Bertolt Brecht in 1924, which had a profound influence on him. The same year, he and Dorothee Günther [ de ] founded
25596-569: Was not a part of the resistance himself. Kater's accusation, as he termed it, regarding the White Rose colored much of the discourse on Carl Orff in the coming years. In some instances the debate focused more on acrimony between those involved. In Composers of the Nazi Era: Eight Portraits (2000) Kater qualified his earlier accusations to some extent after reviewing the documents that Rathkolb discovered. Subsequently, however, Kater reiterated his initial claim regarding Orff and
25758-431: Was not convinced that the allegation about the White Rose lie had been refuted as unambiguously as he felt Rathkolb and Thomas Rösch had claimed, but "since the episode about the White Rose was never on the record or issued openly by Orff, it is ultimately irrelevant whether the episode reported by Jenkins to Kater actually took place or was a matter of misunderstanding. ... Kater in any case attached too much significance to
25920-495: Was prepared for performance by Schoenberg's student Winfried Zillig . After her husband's death in 1951 she founded Belmont Music Publishers devoted to the publication of his works. Arnold used the notes G and E ♭ (German: Es, i.e., "S") for "Gertrud Schoenberg", in the Suite , for septet, Op. 29 (1925). (see musical cryptogram ). Following the death in 1924 of composer Ferruccio Busoni , who had served as Director of
26082-469: Was staged under his direction in 1925 in Mannheim, using some of the instruments that had been used in the original 1607 performance, although several of these were unavailable and had to be replaced. Orff revised the score a few years later; this version was first performed in Munich in 1929. Orff's adaptations of early music brought him very little money. The passionately declaimed opera of Monteverdi's era
26244-478: Was to develop the most influential version of the dodecaphonic (also known as twelve-tone ) method of composition, which in French and English was given the alternative name serialism by René Leibowitz and Humphrey Searle in 1947. This technique was taken up by many of his students, who constituted the so-called Second Viennese School . They included Anton Webern , Alban Berg , and Hanns Eisler , all of whom were profoundly influenced by Schoenberg. He published
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