DEENFRES

Music

»This music with its powerful and exuberant xylographic sparseness struck us like a thunderbolt…« (G. Wimberger on Carmina Burana)[1]

»... there were vehement pros and cons accompanied by passionate discussion. [...] This was something completely new, but not foreign: its elemental character was stylised which prevented a descent into simplicity and sparks were made to fly out of south German folklore.«[1] (Poster design for the world première, B. Schott´s Söhne, Mainz 1937)

»... there were vehement pros and cons accompanied by passionate discussion. [...] This was something completely new, but not foreign: its elemental character was stylised which prevented a descent into simplicity and sparks were made to fly out of south German folklore.«[1] (Poster design for the world première, B. Schott´s Söhne, Mainz 1937)

»Carl Orff’s works since ›Carmina burana‹ (1937) represent a challenge [...]. To be somewhat hyperbolic, his oeuvre has taken up a position somewhere beyond the antitheses of avant-garde und traditionalism.«[2] (Page from autograph score ›Carmina Burana‹)

»Carl Orff’s works since ›Carmina burana‹ (1937) represent a challenge [...]. To be somewhat hyperbolic, his oeuvre has taken up a position somewhere beyond the antitheses of avant-garde und traditionalism.«[2] (Page from autograph score ›Carmina Burana‹)

»Orff’s conception of music theatre is truly singular within the panorama of music of the 20th century.«[2] (Carl Orff 1939)

»Orff’s conception of music theatre is truly singular within the panorama of music of the 20th century.«[2] (Carl Orff 1939)

»Orff steers into uncharted territory with his Antigonae, namely with his chanted ‘sprechgesang’ and the music as an accompaniment to the plot.«[3] (Carl Orff at a reading of ›Bernauerin‹ in Munich 1975)

»Orff steers into uncharted territory with his Antigonae, namely with his chanted ‘sprechgesang’ and the music as an accompaniment to the plot.«[3] (Carl Orff at a reading of ›Bernauerin‹ in Munich 1975)

»The aim is not a musical work (setting) on the textual basis of a tragedy [...], but the representation of the tragedy through a musical medium.«[2] (Carl Orff in the Maillingerstraße 1936)

»The aim is not a musical work (setting) on the textual basis of a tragedy [...], but the representation of the tragedy through a musical medium.«[2] (Carl Orff in the Maillingerstraße 1936)

»After Antigonae and Oedipus, the only logical progression for me could be a work such as Prometheus by Aischylos. Here the scene of tragedy becomes an archetype for the whole world.«[4] (Carl Orff 1968)

»After Antigonae and Oedipus, the only logical progression for me could be a work such as Prometheus by Aischylos. Here the scene of tragedy becomes an archetype for the whole world.«[4] (Carl Orff 1968)

»Neither the repetitive statics of structure nor the rigid limitation to percussive tones and declamation based on rhythmic patterns and recitation precluded highly expressive elements.«[5] (Carl Orff in his study, Maillingerstraße 16, 1936)

»Neither the repetitive statics of structure nor the rigid limitation to percussive tones and declamation based on rhythmic patterns and recitation precluded highly expressive elements.«[5] (Carl Orff in his study, Maillingerstraße 16, 1936)

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[1] Gerhard Wimberger: Über Carl Orff, in: Carl Orff. Ein Gedenkbuch, ed. Horst Leuchtmann, Tutzing 1985, p. 173; [2] Stefan Kunze: Orffs Tragödien-Bearbeitungen und die Moderne, in: Bayer. Akad. d. Schönen Künste, Jahrbuch, p. 194/195 and 197/198; [3] Oscar Fritz Schuh: Carl Orff, in: Carl Orff. Ein Gedenkbuch, ed. Horst Leuchtmann, Tutzing 1985, S. 145; [4] CO-Dok VIII,9; [5] Stefan Kunze: Orffs Tragödien-Bearbeitungen und die Moderne, in: Bayer. Akad. d. Schönen Künste, Jahrbuch,  p. 202/203.
Images.: OZM, except for 3 Anne Kirchbach; 5 Klaus Redenbacher

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