German stamp commemorating the 100th anniversary of Jochum's birth

Eugen Jochum (German: [ˈɔʏ̯ɡeːn ˈjɔxʊm]; 1 November 1902 – 26 March 1987) was an eminent German conductor.

Jochum was born to a Roman Catholic family in Babenhausen, near Augsburg, Germany; his father was an organist and conductor. Jochum studied the piano and organ in Augsburg, enrolling in its Academy of Music from 1914 to 1922.^[1] He then studied at the Munich Conservatory, with his composition teacher being Hermann von Waltershausen; it was there that he changed his focus to conducting, his teacher being Siegmund von Hausegger, who conducted the first performance of the original version of the Ninth Symphony of Anton Bruckner and made the first recording of it.

Jochum's first post was as a rehearsal pianist at Mönchen-Gladbach, and then in Kiel. He made his conducting debut with the Munich Philharmonic Orchestra in 1926 in a program which included Bruckner's Seventh Symphony. In the same year he was appointed conductor at the Kiel Opera House, where he conducted seventeen operas in his first season, including The Flying Dutchman, Der Rosenkavalier and Turandot.^[2]

After Kiel he went to Mannheim, where Wilhelm Furtwängler praised his conducting. He turned down an offer to conduct twelve concerts with the New York Philharmonic Orchestra, believing that his repertory and experience were not yet equal to it. (He did not appear in America until 1958.) His next appointment was as music director in Duisburg, from 1930 to 1932.^[3] In 1932 he became chief of the Berlin Radio Orchestra, also conducting 16 concerts a season with the Berlin Philharmonic, and at the Deutsche Oper.^[2]

In 1934 Jochum succeeded Karl Böhm as musical director of the Hamburg State Opera and the Hamburg Philharmonic. Throughout the Nazi era, Hamburg remained, as Jochum put it, 'reasonably liberal', so that he was able to keep his post despite refusing to join the party. He performed music by composers such as Hindemith and Bartók elsewhere banned by the Nazis. He served at Hamburg until 1949.^[2] After World War II, Jochum became the first chief conductor of the Bavarian Radio Symphony Orchestra in 1949.

Jochum was also a regular guest conductor of the Concertgebouw Orchestra, Amsterdam, and served as the orchestra's 'first conductor' (eerste dirigent) from 1941–1943, during the chief conductorship of Willem Mengelberg. From 1961 to 1963, Jochum was joint chief conductor of the Concertgebouw Orchestra alongside Bernard Haitink.^[4][5] He conducted frequently in London, with the London Philharmonic Orchestra and the London Symphony Orchestra. In 1975, the LSO appointed him conductor laureate, a position he held until 1978. Jochum served as principal conductor of the Bamberg Symphony from 1969-1973. He later worked regularly with the Staatskapelle Dresden, with which he recorded the complete symphonies of Bruckner and "London" symphonies of Joseph Haydn. He appeared regularly at the Salzburg Festival. He also, in 1953–54 and 1971, conducted at the Bayreuth Festspielhaus; he made his debut conducting Tristan und Isolde.

He led the world premieres of various works, including the Concerto for Strings by Boris Blacher, the Concerte per il principe Eugenio by Alberto Bruno Tedeschi, the Suite Française by Werner Egk, the Tanz-Rondo by Gottfried von Einem, and the Symphony No. 6 by Karl Amadeus Hartmann.

He was a regular recording artist, from his first records in 1932 (the Mozart D minor piano concerto with Edwin Fischer). In the stereo LP era he recorded mainly for Deutsche Grammophon. His DG cycle of the symphonies of Anton Bruckner, split between the Berlin Philharmonic and Bavarian Radio Symphony Orchestra, has remained in the record catalogs ever since its first issue in the 1960s.^[6] This cycle and a later Jochum Bruckner cycle, with the Staatskapelle Dresden for EMI, have been widely and frequently acclaimed and have caused his name to be especially associated with this composer. In addition, he was president of the International Bruckner Society from 1950, and wrote extensively about Bruckner interpretation. Still, according to his New York Times obituary, he said in a 1983 interview, "Today, everyone thinks of me as a specialist in Bruckner's symphonies. But I began with the music of Bach, Mozart and Beethoven. And it is to their music that I still feel closest." His recordings of Bach's Mass in B Minor and St. John Passion are frequently counted among the finest of these works to use large choral and orchestral forces. His three complete recordings of the Beethoven symphonies have also received strong praise: they were made with the Berlin Philharmonic and Bavarian Radio Symphony Orchestra in the 1950s for Deutsche Grammophon, with the Royal Concertgebouw Orchestra in the late 1960s for Philips, and with the London Symphony Orchestra in the 1970s for EMI. Jochum also made two complete recordings of the symphonies of Johannes Brahms, one with the Berlin Philharmonic in the mid-1950s, the other with the London Philharmonic in 1977. On the strengths of these sets, the conductor Kenneth Woods called him "the greatest Brahms conductor who ever lived."^[6] He also recorded the Brahms piano concertos with Emil Gilels, a recording that is often listed among the finest made of these works. His recordings of Mozart, Haydn, Schumann, Wagner and Carl Orff have also been highly praised. His 1967 recording of Carmina Burana is considered by Bill Alford to be an authoritative interpretation, as Orff himself was present at the recording and endorsed the final record.^[7]

Regarding his podium technique, Kenneth Woods blogs, "Look at his hands- very small and focused motions but so powerful." Woods also states that "his sense of rubato, while still incredibly daring, is perhaps more un-erring than [that of] even Wilhelm Furtwängler."

Jochum's older brother Otto Jochum (1898–1969) was a composer and choral conductor; his younger brother Georg Ludwig Jochum (1909–1970) was, like Jochum, an orchestral conductor. His daughter Veronica Jochum is a pianist on the faculty of the New England Conservatory of Music in Boston, Massachusetts.

Jochum died in Munich at the age of 84. His wife Maria predeceased him, in 1985.^[8]

Notable recordings[link]

• Anton Bruckner, Eighth Symphony, Hamburg State Philharmonic Orchestra, 1949 (first commercial recording of the complete symphony)
• Carl Orff, Carmina Burana, Bavarian Radio Symphony Orchestra, 1953 (first recording)
• Richard Wagner, Die Meistersinger von Nürnberg, Deutsche Oper Berlin, 1976 (with Dietrich Fischer-Dieskau, Plácido Domingo, and others)
• Johannes Brahms. Piano Concerto No. 1, Berlin Philharmonic Orchestra, with Emil Gilels, 1972

References[link]

External links[link]

• Article at allmusic.com
• Tribute page, including a complete discography
• Veronica Jochum, New England Conservatory

Gundula Janowitz (born August 2, 1937 in Berlin, Germany)^[1] is an Austrian lyric soprano singer of operas, oratorios and concerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.

Career[link]

Janowitz grew up in Graz, Austria, where she became a naturalised Austrian.^[2] She studied at the Graz Conservatory in Austria,^[3] and had already begun to sing at the highest level by the end of the 1950s (Haydn's The Creation, with Herbert von Karajan in 1960). In 1959, Karajan engaged her as Barbarina in Mozart's The Marriage of Figaro at the Vienna State Opera, of which she became a permanent member in 1962. In the 1960s and 1970s, she became one of the most popular singers in her field internationally and she developed a comprehensive and widely-followed discography of works ranging from Johann Sebastian Bach to Richard Strauss, in cooperation with the most prominent conductors (her mentor at times, Karajan, as well as Otto Klemperer, Eugen Jochum, Leonard Bernstein, Rafael Kubelík, Karl Böhm, Georg Solti, Carlos Kleiber, etc.)

One of the emphases of Janowitz's work was the development of song recitals, which she gave several times at the Salzburg Festivals. Following her vocal career, she was active as a vocal teacher. In 1990, she temporarily took over the position of Opera Director in Graz.^[3]

In 1978, Gundula Janowitz was awarded the Joseph Marx Music Prize of the state of Styria, Austria, named for the composer, Joseph Marx.^[4]

Janowitz appeared on many of the great stages of the world, including Glyndebourne Festival Opera, the Salzburg Easter Festivals, the Metropolitan Opera, the Paris Opéra, the Royal Opera House. She was made a Kammersängerin in 1970.^[3] In 1973, she sang the part of the Countess in a now legendary new production of Le nozze di Figaro (with Georg Solti as conductor, Giorgio Strehler as director and Ezio Frigerio as set designer).

Her farewell premiere was at the Vienna State Opera in the title role of Gluck's Iphigénie en Aulide (with Charles Mackerras as conductor, Claus Helmut Drese as director, and Hans Schavernoch as set designer). Janowitz made her official farewell from the stage in 1990.

Voice and repertory[link]

Gundula Janowitz's voice is distinguished by its very bright, pure, crystalline, tremolo-free sound with tight, rapid vibrato, and by her even breathing technique. She kept her youthful, angelic tone and freshness well into her mature years. Like her predecessors, Elisabeth Grümmer and Maria Stader, who had similar timbre to hers, and like her contemporary, Elizabeth Harwood, Janowitz mastered first and foremost the high and middle register and lyrical-emotional expression. Despite her comparatively weak sound projection, she occasionally performed in dramatic roles (Sieglinde, Leonore, Elsa) or comic roles (Marzelline, Rosalinde), but she was most highly regarded as Fiordiligi, Countess Almaviva, Pamina, Agathe, Arabella, Ariadne, the Angel Gabriel (The Creation), and Countess Madeleine, and in sacred music. She was also a leading interpreter of Richard Strauss "Four Last Songs".^[1] With a few exceptions, she avoided foreign-language roles (although recordings exist of her singing Don Carlos and Verdi's Requiem and all three Mozart/DaPonte operas in Italian).

An excerpt of her portrayal of the Figaro Countess in a duet with Swiss soprano Edith Mathis features prominently in the 1994 film The Shawshank Redemption.

Selected discography[link]

• With Otto Klemperer: The Magic Flute
• With Herbert von Karajan: The Creation, The Seasons, Die Walküre, Götterdämmerung, St Matthew Passion, Mass in B minor, Fidelio (as Marzelline), Ninth Symphony, Missa Solemnis, A German Requiem, Four Last Songs
• With Leonard Bernstein: Fidelio (as Leonore)
• With Eugen Jochum: Carmina Burana
• With Carlos Kleiber: Der Freischütz
• With Karl Böhm: Così fan tutte, The Marriage of Figaro, Die Fledermaus, The Seasons, Capriccio
• With Rafael Kubelík: Die Meistersinger von Nürnberg, Lohengrin
• With Rudolf Kempe: Ariadne auf Naxos
• With Karl Richter: Christmas Oratorio, Messiah, Orfeo ed Euridice,Mass in B minor
• With Hans Knappertsbusch: Parsifal (1962, as Flower Girl)
• 15 Lieder by Franz Schubert, with Charles Spencer (piano)
• Schubert Lieder, with Irwin Gage (piano). Includes "Gretchen am Spinnrade", "Die Männer sind méchant", and "Der Hirt auf dem Felsen".

References[link]

1. ^ ^{a b} "Janowitz, Gundula" by Alan Blyth, Grove Music Online (Subscription required)
2. ^ "Gundula Janowitz 70" by Manuel Brug, Die Welt (2 August 2007) (German)
3. ^ ^{a b c} Gundula Janowitz at bach-cantatas.com
4. ^ Joseph Marx: The Life and Works of the Composer Joseph Marx

External links[link]

• Complete discography
• Janowitz sings Mozart
• Gundula Janowitz at the Internet Movie Database

Carl Orff, aquatint etching

Carl Orff ((1895-07-10)July 10, 1895 – March 29, 1982(1982-03-29)) was a 20th-century German composer, best known for his cantata Carmina Burana (1937). In addition to his career as a composer, Orff developed an influential method of music education for children.

Life[link]

Early life[link]

Orff was born in Munich on July 10, 1895. His family was Bavarian and was active in the Army of the German Empire.

Orff started studying the piano at the age of five, and he also took organ and cello lessons. However, he was more interested in composing original music than in studying to be a performer. Orff wrote and staged puppet shows for his family, composing music for piano, violin, zither, and glockenspiel to accompany them. He had a short story published in a children's magazine in 1905 and started to write a book about nature. In his spare time he enjoyed collecting insects.

By the time he was a teenager, Orff was writing songs, although he had not studied harmony or composition; his mother helped him set down his first works in musical notation. Orff wrote his own texts and he learned the art of composing, without a teacher, by studying classical masterworks on his own.

In 1911, at age 16, some of Orff's music was published.^[1] 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 1911/1912, Orff wrote Also sprach Zarathustra (Thus Spoke Zarathustra), Op. 14, a large work for baritone voice, three choruses and orchestra, based on a passage from Friedrich Nietzsche's philosophical novel of the same title.^[2][3] 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[link]

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 in the cave in of a trench. Afterwards, he held various positions at opera houses in Mannheim and Darmstadt, later returning to Munich to pursue his music studies.

The 1920s[link]

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 like his 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 Orff's direction in 1925 in Mannheim, Germany, 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, Orff also edited 17th-century operas. However, these various activities brought Orff very little money.

The Nazi era[link]

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.^[4] 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 – others refused to cooperate in this.^[5] 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 government.

Orff was a friend of Kurt Huber, one of the founders of the resistance movement Die 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 begged Orff to use his influence to help her husband, but Orff denied her request. If his friendship with Huber came out, he told her, he would be "ruined". Huber's wife never saw Orff again. Wracked by guilt, Orff would later write a letter to his late friend Huber, imploring him for forgiveness.^[6][7] According to Canadian historian Michael H. Kater, Orff claimed at the end of the war to his Allied interrogators that he was a founding member of the White Rose and was released.^[8] However, in Orff's denazification file, which has been discovered by Viennese historian Oliver Rathkolb in 1999, no remark on the White Rose is recorded.^[9]

Nonetheless, he had a long friendship with German-Jewish musicologist, composer and refugee Erich Katz,^[10] who fled Nazi Germany in 1939.

Following World War II[link]

Bust of Carl Orff in the Munich Hall of Fame (2009)

Following World War II, during his denazification process in Bad Homburg, Orff claimed to Newell Jenkins, an officer in the U.S. Army, and later an orchestra conductor, that he had helped establish the "White Rose" resistance movement in Germany.^[6] There was no evidence for this other than his own word, and other sources dispute his claim. The Canadian historian Michael H. Kater made a particularly strong case in his earlier writings that Orff collaborated with Nazi German authorities.^[11] However, in Composers of the Nazi Era: Eight Portraits (2000) Kater rescinded his earlier accusations to some extent. 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.^[12]

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.

Personal life[link]

Orff was married four times: Alice Solscher (m. 1920, div. 1925), Alice Willert (m. 1939, div. 1953), Luise Rinser (m. 1954, div. 1959) and Liselotte Schmitz (m. 1960). His only child Godela, from his first marriage, was born in 1921. She was later rejected by the composer. "He had his life and that was that," she tells Tony Palmer in the documentary O Fortuna.^[13]

Death[link]

When Carl Orff died in Munich in 1982 at the age of 86, he had lived through four epochs in the course of his life: 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).

Works[link]

Musical work[link]

	Fortuna Imperatrix Mundi noicon 30 seconds from Carmina Burana by Carl Orff
Problems listening to this file? See media help.

Orff is most known for Carmina Burana (1936), a "scenic cantata". It is the first of a trilogy that also includes Catulli Carmina and Trionfo di Afrodite. Carmina Burana reflected his interest in medieval German poetry. Together the trilogy 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 easy tonalities. 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..^[14] 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.^[15]

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 the war, he claimed not to be satisfied with the music 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. His works Der Mond (The Moon, 1939) and Die Kluge (The Wise Woman, 1943), for example, he referred to as "Märchenoper" ("fairytale operas"). Both compositions feature the same "timeless" sound in that 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, with them, text appear in a union of words and music.

About his Antigonae (1949), Orff said specifically that it was not an opera, rather a Vertonung, a "musical setting", of the ancient tragedy. The text is an excellent 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, which is most adequate 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, 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, performed by Herbert von Karajan and the WDR Symphony Orchestra Cologne and Chorus. In this highly personal work, Orff presented a mystery play, in which he summarized his view on the end of time, sung in Greek, German, and Latin.

Gassenhauer, which Orff composed with Gunild Keetman, was used as the theme music for Terrence Malick's film Badlands (1973). Hans Zimmer later reworked this music for his True Romance (1993) score.

Pedagogic work[link]

In pedagogical circles he is probably best remembered for his Schulwerk (School Work). Originally a set of pieces composed and published for the Güntherschule (students ranging from 12 to 22),^[16] 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". 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, write original texts for the pieces and 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.

List of compositions[link]

• Lamenti
  • Orpheus (1924, reworked 1939)
  • Klage der Ariadne (1925, reworked 1940)
  • Tanz der Spröden (1925, reworked 1940)

• Entrata for orchestra, after "The Bells" by William Byrd (1539–1623) (1928, reworked 1941)

• Orff Schulwerk
  • Musik für Kinder (with Gunild Keetmann) (1930–35, reworked 1950–54)

• Trionfi
  • Carmina Burana (1937)
  • Catulli Carmina (1943)
  • Trionfo di Afrodite (1953)

• Märchenstücke (Fairy tales)
  • Der Mond (1939)
  • Die Kluge (1943)
  • Ein Sommernachtstraum (1952, reworked 1962)

• Bairisches Welttheater (Bavarian world theatre)
  • Die Bernauerin (1947)
  • Astutuli (1953)
  • Comoedia de Christi Resurrectione (1956) – Easter Play
  • Ludus de Nato Infante Mirificus (1961) – Nativity play

• Theatrum Mundi
  • Antigonae (1949)
  • Oedipus der Tyrann (1959)
  • Prometheus (1968)
  • De Temporum Fine Comoedia (1973, reworked 1977)

References[link]

1. ^ e.g. Early Songs published by Schott Music and Songs and Chants recorded by WERGO
2. ^ Chronology by Carl Orff Center Munich
3. ^ Alberto Fassone. "Orff, Carl." in Grove Music Online. Oxford Music Online (accessed September 25, 2009) (Subscription required).
4. ^ "Carl Orff: Carmina Burana" Ev. Emmaus- Ölberg- Kirchengemeinde Berlin Kreuzberg. Retrieved June 26, 2011 (German)
5. ^ The New York Times. http://www.nytimes.com/aponline/2009/07/09/arts/AP-EU-Germany-Nazis-Composers.html. ^{[dead link]}(Dead Link)
6. ^ ^{a b} Morrison, Richard (December 19, 2008). "Carl Orff the composer who lived a monstrous lie". The Times (UK). http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article5366154.ece. Retrieved March 27, 2010. 
7. ^ Duchen, Jessica (December 4, 2008). "Dark heart of a masterpiece: Carmina Burana's famous chorus hides a murky Nazi past". The Independent (UK). http://www.independent.co.uk/arts-entertainment/theatre-dance/features/dark-heart-of-a-masterpiece-carmina-buranas-famous-chorus-hides-a-murky-nazi-past-1050503.html. Retrieved March 27, 2010. 
8. ^ http://www.h-net.org/~german/articles/dennis1.html
9. ^ Komponist sein in einer bösen Zeit. Die Welt 11 February 1999
10. ^ List of items in Erich Katz Collection (PDF) Regis University. p. 6. Retrieved November 1, 2011
11. ^ cf. Review of "Carl Orff im Dritten Reich" by David B. Dennis, Loyola University Chicago (January 25, 1996)
12. ^ Kater, Michael H. (1995). "Carl Orff im Dritten Reich [Carl Orff in the Third Reich]" (in German) (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte 43 (1): 1–35. ISSN 0042-5702. http://www.ifz-muenchen.de/heftarchiv/1995_1_1_kater.pdf. 
13. ^ Martin Kettle "Secret of the White Rose", The Guardian, January 2, 2009
14. ^ IMDB entry for soundtrack of Oliver Stone's film The Doors (scroll to bottom)
15. ^ "Pasolini's Salo", review
16. ^ Carl Orff Documentation trans. Margaret Murray, published by Schott Music, 1978

Further reading[link]

• Michael H. Kater, "Carl Orff im Dritten Reich", Vierteljahrshefte für Zeitgeschichte 43, 1 (January 1995): 1–35.
• Michael H. Kater, Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press, 2000.

External links[link]

Wikimedia Commons has media related to: Carl Orff

Wikiquote has a collection of quotations related to: Carl Orff

• Carl Orff Foundation
• Orff Center, Munich
• Discography
• Carl Orff at the Internet Movie Database