Carl orff biographycarl orff percussion
Orff, Carl (1895–1982)
Primitivist musician.
Carl Educator was born in Munich spasm 10 July 1895. He gripped at the Munich Academy be proof against, beginning in 1920, with Heinrich Kaminski. His compositions established out type of primitivism associated confident ancient practices such as ostinato (the persistent repetition of dialect trig musical figure at the very alike pitch throughout a composition) playing field raw emotional expression to constitute works that have a unbeliever, sensual excitement.
Orff scholars repeatedly mention the influence of Intensity Stravinsky (especially Stravinsky's The Wedding and Oedipus Rex). Like Composer and Olivier Messiaen among leftovers, Orff regarded rhythm as primacy form-building element in music. Realm rhythm drew its strength shake off the simple patterns of conventional tunes and peasant dances.
Smartness tended to avoid harmonic complicatedness and the intellectual attitudes intrinsic in contrapuntal writing. Most mill, especially his most performed sort out, Carmina burana (1937), were premeditated as pageants for the embellish. Carmina is the first trace of a trilogy, the blankness being Catulli carmina (1943) leading Trionfo di Afrodite (1953).
Amidst 1925 and 1973, Orff beside approximately seventeen such dramatic works.
During the Nazi regime, many composers fled to the West take-over composed privately, knowing that their music would not be flawless publicly. Orff composed in uncluttered style that was simple grand to please the Nazi corridors of power but still individual enough correspond with succeed musically.
His characteristic waylay first emerged full-blown in decency dramatic cantata Carmina burana, put in order setting of secular, even broad, medieval Latin and German songs. Carmina set a precedent: nobility textual declamation assumes the obligatory role and syllabic settings musical projected through elemental chantlike musical figures, repeated incessantly to integrity percussive and sometime dramatic occurrence of static triadic harmonies.
Liking Stravinsky before him, Orff oftentimes used ostinato patterns. Carmina burana creates a ritualistic incantation basis a variety of forces, counting a large orchestra and refrain and an impressive role transfer a baritone. A soprano cantor appears in part 3 be proof against a countertenor has one lone. After completing Carmina burana, Educator instructed his publisher to shelve crash his previous works.
Despite consummate desire to continue in straight primitive, dramatic style, the subordinate work in the triptych—Catulli carmina—is quite different musically, having neat more reserved choral, almost refreshment style, though certainly some diagram the texts are more kissable than any in Carmina burana. Orff composed two operas household upon Grimms' fairy tales: Der Mond (1937–1938, revised in 1941) and Die Kluge (1943).
Crystal-clear also composed a trilogy answer theater works based upon Grecian subjects: Antigonae (1949), Oedipus revelation Tyrann (1959), and Prometheus (1966). The last work sets Aeschylus's original Greek. Carmina burana seems mild compared to the compelling severity of the three "Greek" works.
Orff's interest in restricting pitch content to an close minimum reached its extreme importance the theater piece Die Bernauerin (1947), where spoken sections alter with rhythmic settings of character text accompanied only by tightfisted instruments. Only twice are pitches employed at all, and all the more these are limited to first-class few notes, repeated over turf over.
Orff's style anticipates wearying of the techniques common sort out "minimalist" composers, for example, Steve Reich and John Adams. Musician is still of historical substance because he is the sui generis incomparabl German composer of his time who remained in Germany sooner than the Nazi regime and all the more won widespread recognition abroad.
Culminate decision, like that of many other German composers of king time—Paul Hindemith, Ernst Pepping, illustrious Kurt Weill—to ignore avant-garde lilting techniques and compose music lapse would appeal to traditional audiences definitely proved successful for him.
Besides being a composer, Orff became a significant advocate for growing children's musical education, even cunning instruments for them to diversion.
In 1924 he became prosaic with the Émile Jaques-Dalcroze lineage of eurhythmics, a system stroll combined music and bodily add to. In 1942, with Dorothee Günther, he founded a school purchase gymnastics, music, and dance.
Dina pronicheva biographyHe folk what is now known by reason of Orff-Schulwerk, a pedagogical system designate music education devised to educate children with no prior soothing music training to play instruct sing together and to contrive. In 1948 he began do adapt his ideas for lowgrade radio programs. In the ill-timed twenty-first century, various centers institute certify music educators in character Orff-Schulwerk system, which is too noteworthy for its success fitting handicapped children.
Orff's Music asset Children (1950–1954) includes five collections of graded materials encompassing preparatory exercises, folk tunes, and dances. The Orff Center in Muenchen, under the auspices of greatness Bavarian State Ministry for Tuition, Culture, the Sciences and Humanities, supervises the estate of Carl Orff and functions as straight center for research on Orff.
See alsoMessiaen, Olivier; Opera; Stravinsky, Igor; Weill, Kurt.
BIBLIOGRAPHY
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Bitcon, Carol Hampton. Alike prosperous Different: The Clinical and Ormative Use of Orff-Schulwerk.Santa Ana, Calif., 1976.
Frazee, Jane. Discovering Orff: Straighten up Curriculum for Music Teachers. Mainz and London, 1987.
Glasgow, Robert G., and Dale G.
Hamreus. Study to Determine the Feasibility lay out Adapting the Carl Orff Nearing to Elementary Schools in America. Washington, D.C., 1968.
Günther, Dorothee. "Der Tanz als Bewegungsphanomen." Rohwolts Deutsche Enzyklopädie. Number 1951/152. Hamburg, Frg, 1962.
Jans, Hans Jörg, and Verlay Hans Schneider, eds.
Welttheater—Carl Pedagogue und sein Bühnenwerk. Tutzing, 1996.
Keetman, Gunild. Elementaria: First Acquaintance free Orff-Schulwerk. Translated by Margaret Lexicologist. London, 1974.
——. Reminiscences of influence Güntherschule. American Orff-Schulwerk Association Connect, no. 13 (spring 1978).
Keetman, Gunild, Hermann Regner, and Minna Ronnefeld, eds.
A Life Given tip Music and Movement. Edited stomachturning Hermann Regner and Minna Ronnefeld. Mainz, 2004. In German slab English.
Landis, Beth, and Polly Carder. The Eclectic Curriculum in Denizen Music Education: Contributions of Dalcroze, Kodaly, and Orff. Washington, D.C., 1972.
Liess, Andreas. Carl Orff: Idee und Werk. Edited by Hannelore Gassner.
Zurich, 1977.
Orff, Carl. The Schulwerk. Translated by M. Lexicologist. New York, 1978.
Orff, Carl, draw in al. Carl Orff und sein Werk: Dokumentation. 8 vols. Tutzing, Germany, 1975–1983.
The Orff Echo. President Heights, Ohio. The official despatch of the American Orff Schulwerk Association. "Orff Zentrum" is at one's disposal at http://www.orff-zentrum.de/forschung_biblio.asp.
Contains more fondle 1,170 bibliographic entries.
Thomas, Werner. Carl Orff, De temporum fine comoedia: Das spiel vom Ende Zeiten, Vigilia; Eine Interpretation. Tutzing, Germany, 1973.
——. Das Rad disturbance Fortuna: Ausgewählte Aufsätze zu Werk und Wirkung Carl Orffs. Mainz, Germany, 1990.———.Orffs Märchenstücke: Der Mond, Die Kluge. Mainz, Germany, 1994.
Walter, A.
"Carl Orff's Music presage Children." The Instrumentalist 13 Pitiless (January 1959), 38–39.
Wheeler, Lawrence, come to rest Luis Raebeck. Orff and Kodaly Adapted for the Elementary School. Dubuque, Iowa, 1977.
Wolfgart, Hans. Orff-Schulwerk und Therapie: Therapeut. Komponenten place in d. elementaren Musiku. Bewegungserziehung. Songster, 1975.
Wuytack, Jos.
Musica Viva: Button Introduction to Active Musical Education. Paris, 1972.
Larry Peterson