Carl Heinrich Maria Orff (German: [kaʁl ˈʔɔʁf] ; 10 July 1895 – 29 March 1982) was a German composer and music educator who is best known for composing the cantata Carmina Burana and formulating concepts of his Schulwerk (lit. 'schoolwork'), which became influential for children's music education.
Born in Munich, Orff was raised in a military family that was fairly musical and later attended the Munich Academy of Music. After composing a number of Lieder and other orchestral works, he completed his Carmina Burana for voices and large orchestra in 1937, setting 24 poems from the medieval poetry collection of the same name. Its première was an immediate great success and Orff considered it the first time he had done exactly what he wanted. While the cantata's popularity continued to rise throughout and after World War II, Orff never received nearly as much recognition or attention for his later works like the latter two parts of his triptych Trionfi, of which Carmina Burana is the first instalment.
Orff was also an influential pedagogue who developed an approach (the "Orff Schulwerk") to teaching children, which is a collection of fundamental principles to ensure every child learns music, much like a new language, in a comfortable environment. It involves tools like elementary forms of instruments and specifically composed music (the original form of the Schulwerk).
Part of the Reichsmusikkammer, Orff's relationship with the Nazi Party has been analysed by many as he was considerably successful (musically and financially) under its rule and whose work was well-liked by contemporary critics. Having concealed his part-Jewish ancestry throughout his life, Orff underwent denazification and was rated "acceptable" by his evaluator who characterised him as a passive anti-Nazi. He went on to be granted an unrestricted license with no further prohibitions from public musical activities and continued to compose stage works and rework previous compositions up till his death in 1982.
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 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 Maximilian 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 the daughter of Jews who had converted to Catholicism before her birth, Heinrich Kraft (1784–1866) and Barbara Kraft (née Neustädtl, 1797–1872). His maternal grandmother 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 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 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 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 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 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, 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 removed it from 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 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 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 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 in 1982, 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 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 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.