Miser by Empress Maria Feodorovna of Russia

A miser, cheapskate, snipe-snout, penny pincher, piker, scrooge, skinflint or tightwad is a person who is reluctant to spend money, sometimes to the point of forgoing even basic comforts and some necessities. Old people were commonly portrayed as being miserly but this stereotype is less common since support programs such as Social Security have resulted in less poverty in old age.^[1]

Freud attributed the development of miserly behaviour to toilet training in childhood. Some infants would attempt to retain the contents of their bowels and this would result in the development of an anal retentive personality that would attempt to retain their wealth and possessions in later life.^[2]

In traditional Chinese Confucianism, those who were concerned with money – landlords and merchants – were thought to be a low order of society, inferior to the peasant farmers who tilled the soil. They were condemned in allegory as misers and officials would punish such behaviour in times of famine.^[3]

There are numerous folk sayings about miserly people such as the Cockney, "E's so tight 'is arse squeaks" and the Yorkshire, "He's a snipe-snout; he'll part wi' nowght."^[4]

Death and the Miser by Hieronymus Bosch in 1494

Famous misers in history[link]

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• Andrew Carnegie, a Scottish-born industrialist, was notoriously thrifty and was mocked as a miser but after the Homestead dispute he became a great philanthropist.^[5]

• The Collyer brothers of New York City were also hoarders and earned notoriety for living in a filthy, booby-trapped home.

• Ephraim Lópes Pereira d'Aguilar, 2nd Baron d'Aguilar was an eccentric Jewish Portuguese nobleman who lived a life of privation, while amassing a secret fortune.

• Hetty Green of New York City was considered the world's wealthiest woman in 1916, and was known as the "Witch of Wall Street".

• John Elwes (aka "Elwes the Miser"), was a noted British eccentric and miser, believed to be the inspiration for the character of "Ebenezer Scrooge" in Charles Dickens' A Christmas Carol.^[6]

• Joseph Nollekens was a Londoner generally considered to be the finest British sculptor of the late 18th century, but was also a notorious miser.

• Joel Trembulak was a fine US income banker, but was also a notorious miser.

• Michelangelo made a fortune from his painting but denied himself all comforts and slept with his boots on.^[7]

• Yossele the Holy Miser, a Polish Jew, is a famous miser of Jewish folklore.

Misers in fiction[link]

Ebenezer Scrooge encounters Ignorance and Want in A Christmas Carol

• Ebenezer Balfour – antagonist in the novel Kidnapped by Robert Louis Stevenson^[8]
• Cotta – in Epistle to Bathurst by Alexander Pope^[8]
• Henry Earlforward – in Arnold Bennet's novel Riceyman Steps^[8]
• Felix Grandet – father of the eponymous title character in the novel Eugénie Grandet by Balzac^[8]
• Harpagon – a lead character in Molière's play The Miser^[8]
• Malbecco – "a cancred crabbed Carle" in Edmund Spencer's The Faerie Queene^[8]
• Silas Marner – title character of George Eliot's novel Silas Marner^[8]
• Scrooge McDuck - the cartoon character created in 1947 by Carl Barks and licensed by The Walt Disney Company.
• Mr. Prokharchin – title character of the short story Mr. Prokharchin by Fyodor Dostoyevsky^[9]
• Ebenezer Scrooge – lead character of A Christmas Carol by Charles Dickens^[8]
• Shylock – Jewish moneylender in The Merchant of Venice by William Shakespeare^[8]
• Volpone – title character of the Ben Jonson comedy Volpone^[8]
• Mr. Krabs - A main character of the Nickelodeon TV show, Spongebob Squarepants

As a general example, in Dante Alighieri's Inferno, misers are put in the fourth circle of hell, along with spendthrifts. They roll weights representing their wealth, constantly colliding and quarreling.^[10]

See also[link]

Wikiquote has a collection of quotations related to: Misers

Look up miser in Wiktionary, the free dictionary.

• Compulsive hoarding
• Frugality
• Obsessive-compulsive personality disorder
• Seven deadly sins

References[link]

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