Carl Orff (English Wikipedia)

Randel, Don Michael, ed. (1996). "Orff, Carl". The Harvard Biographical Dictionary of Music. Cambridge, MA: Belknap. p. 653. ISBN 0-674-37299-9.
Moser, Hans Joachim (1943). "Orff, Carl". Musiklexikon (2nd ed.). Berlin: Max Hesses Verlag. pp. 650–651.
Kater 2000, p. 114. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, p. 124. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, pp. 126–127. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kohler 2015, p. 310. Bergese is credited for the piano arrangements in the publications of Musik der Landschaft, on which he felt that he had not received due credit; see also Kater 2000, pp. 140–141. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, pp. 129–130. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, pp. 136–137. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, p. 136. Kater characterized Orff's statement as an attempt at "moving himself, his oeuvre, and his civic and artistic responsibilities out of the jurisdiction of the Third Reich." It was, however, still under Axis powers (Kohler 2015, p. 222). Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, pp. 133–138. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, pp. 133–143. Note the inaccuracy regarding Orff's relationship with Erich Katz in this source (pp. 142–143): Kater wrote that Orff "made no attempt to resume" the friendship after the war, but see Davenport 1995; Kohler 2015, 81. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kater 2000, p. 139. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.

badw.de

"Personentreffer: Bayerische Akademie der Wissenschaften". badw.de. Retrieved 14 January 2019.

bayern.de

ozm.bayern.de

All of these songs were published by Ernst Germann & Co. (Munich/Leipzig). In addition to Eliland, they include "Märchen" (as Opus 13, but in fact Opus 13, No. 3; text by Max Haushofer Jr. [de]), "Des Herzen Slüzzelin" (Opus 15; text by anonymous), "Liebessorgen" and "Drei toskanische Volkslieder" (in one publication, Opus 17 Nos. 1 and 2, respectively; text by Martin Greif and Paul Heyse, respectively), and "Der Tod und die Liebe" (Opus 18, No. 1; text by Münchhausen). Excepting "Der Tod und die Liebe", these songs may be heard on Lieder und Gesänge recorded by WERGO.
Excepting where otherwise noted, information for dates according to Orff-Zentrum München webpage, https://www.ozm.bayern.de/kuenstlerisches_werk/ (accessed 13 August 2022).
Rösch 2021a, p. 11. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.
Rösch 2021a, p. 22. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.
Rösch 2021a, p. 17. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.
Rösch 2021a, p. 42. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.
Rösch 2021a, p. 43. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.
Rösch 2021a, p. 26. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44.

deutsche-biographie.de

Dangel-Hofmann 1999. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online)
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.

digitale-sammlungen.de

daten.digitale-sammlungen.de

Dangel-Hofmann 1999. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online)
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.

doi.org

For two of the earliest known instances of this account appearing in print, see Liess, Andreas (1955). Carl Orff: Idee und Werk (in German). Zürich: Atlantis Verlag. p. 27.. The same year as this publication (which Orff himself authorized), Everett Helm wrote: "In 1937 Carmina Burana was performed for the first time and with great success in Frankfurt am Main, and at that moment Orff 'disowned' all his previous work, with which he was now dissatisfied. Two pieces, Catulli Carmina and the Entrata, were later revised and restored to grace, as were the Monteverdi arrangements. For all practical purposes, then, Carmina Burana must be regarded as his earliest work, and it has remained one of his most successful." Helm, Everett (July 1955). "Carl Orff". The Musical Quarterly. XLI (3): 286 (285–304). doi:10.1093/mq/XLI.3.285.. Note that the 1943 stage work Catulli Carmina uses six of the seven earlier Catulli Carmina I a cappella choruses, but the majority of its material is newly composed.
Fassone, Alberto (2001). "Orff, Carl". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.42969. ISBN 978-1-56159-263-0.
Kowalke 2000. Kowalke, Kim H. (Spring 2000). "Burying the Past: Carl Orff and His Brecht Connection". The Musical Quarterly. 84 (1): 58–83. doi:10.1093/mq/84.1.58. JSTOR 742576.
Kater 2019, p. 211. Kater, Michael H. (2019). Culture in Nazi Germany. New Haven: Yale University Press. doi:10.2307/j.ctvfc542q.
Kater 2019, p. 324. Kater, Michael H. (2019). Culture in Nazi Germany. New Haven: Yale University Press. doi:10.2307/j.ctvfc542q.
Kater, Michael H. (Winter 2000a). "In Answer to Hans Jörg Jans". The Musical Quarterly. 84 (4): 711 (711–712). doi:10.1093/mq/84.4.711.
Jans, Hans Jörg (Winter 2000). "Behind the Scenes: Composer Institutes and the Semblance of Censorship". The Musical Quarterly. 84 (4). Translated by Robinson, Bradford J.: 696–704. doi:10.1093/mq/84.4.696. Jans wrote that "the scholarly debate on Orff and the Third Reich has taken on all the implacability of a criminal lawsuit" (p. 701). See also Kater, "In Answer to Hans Jörg Jans", cited above.
Kater 2019, pp. 324 and 390 n. 106. See also Kater, Michael. (2004). Hitler Youth. Cambridge, MA: Harvard University Press, p. 307 n. 40: "[Orff] told this [i.e., the alleged White Rose lie] to the U.S. authorities in an effort to get easy denazification clearance, since he knew he was guilty of collaboration with the Nazi regime, although he himself had never been a Nazi. Although his scam worked at the time, it has recently been exposed through research." Kater, Michael H. (2019). Culture in Nazi Germany. New Haven: Yale University Press. doi:10.2307/j.ctvfc542q.

donaukurier.de

Busch-Frank 2020. Busch-Frank, Sabine (24 June 2020). "'Er war politisch erschreckend naiv.' Der Wiener Historiker Oliver Rathkolb hat das Leben Carl Orffs in der NS-Zeit untersucht". Donaukurier [de] (in German). Retrieved 20 August 2022.

emmaus.de

"Carl Orff: Carmina Burana" Ev. Emmaus-Ölberg-Kirchengemeinde Berlin Kreuzberg. Retrieved 26 June 2011 (in German)

handle.net

hdl.handle.net

Documents pertaining to Orff's denazification, including the official report by Schaffner, are printed in Rathkolb 2021, pp. 236–254 and Kohler 2015, pp. 415–435. The materials from Orff's evaluation are held in the Oskar Diethelm Library, DeWitt Wallace Institute for the History of Psychiatry, Weill Cornell Medical College, New York City, David M. Levy Papers, Box 35, Folder 2 (Schaffner's report) and Folder 40 (Orff's Rorschach test). Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 82. Fanny Orff's parents, Heinrich Kraft (1784–1866) and Barbara Kraft (née Neustädl, 1797–1872), were baptized Catholic, respectively on 3 December 1816 and 15 July 1817. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Seifert 1970, p. 373 (English translation from Kohler 2015, p. 37) Original language: "In meinem Vaterhaus ist sicher mehr musiziert als exerziert worden." For reprint, see Henkel & Messmer 2021, p. 45. Seifert, Wolfgang (1970). "'...auf den Geist kommt es an': Carl Orff zum 75. Geburtstag – Kommentar und Gespräch". Neue Zeitschrift für Musik. 131 (7/8 July/August): 370–377. Interview with Orff and Wolfgang Seifert (1932–2013) on pp. 373–377; interview reprinted in Henkel & Messmer 2021, pp. 45–55. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Henkel, Theresa; Messmer, Franzpeter, eds. (2021). Carl Orff. Komponisten in Bayern (in German). Vol. 65. Munich: Allitera. ISBN 978-3-96233-296-9.
Orff 1975–1983, pp. 21–30, 35, 38, Vol. I For the vignettes, see Das gute Kind, vol. 8, no. 10, 9 July 1905 (Augsburg: Schmid, 1905), pp. 76–77 and 79–80. They are reprinted with English translation in Kohler 2015, pp. 413–414. Orff, Carl (1975–1983). Carl Orff und sein Werk. Dokumentation. 8 vols. Tutzing: Hans Schneider. ISBN 3-7952-0154-3, 3-7952-0162-4, 3-7952-0202-7, 3-7952-0257-4, 3-7952-0294-9, 3-7952-0308-2, 3-7952-0308-2, 3-7952-0373-2. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2009, p. 26 (English translation from Kohler 2015, p. 53) Original language: "Meine Zukunft liegt mehr denn je ganz im Dunkeln. Daß ich ins Feld geh ist unbedingt sicher. Hier soll und wird die Entscheidung fallen, (Du weißt daß ich frei von jeder Sentimentalität bin) entweder ich finde ein Ende von Allem was mich gedrückt und fast zerdrückt hat, oder ich werde ein ganz neuer Mensch und fange in gewissem Sinne ganz neu an. Was kommen muß, soll kommen alles besser, als die Zeit die war." Rösch, Thomas (2009). Carl Orff – Musik zu Shakespeares "Ein Sommernachtstraum". Entstehung und Deutung. Munich: Orff-Zentrum. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rathkolb 2021, p. 146 n. 578. Regarding Orff's memberships or lack thereof in Nazi organizations, see also documents from a Nazi Party inquiry into Carl Orff in 1942 and Dr. Bertram Schaffner's official report of Orff's denazification (1 April 1946), printed in Rathkolb 2021, pp. 202, 205, 236 and Kohler 2015, pp. 391–393, 422. Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 75–81. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 90. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 447–48. This source reprints the letter with English translation; for the original publication (without translation), see Atwater, Betty Ransom. (November 1973). "Erich Katz: Teacher—Composer, 1900–1973". American Recorder XIV (4): 115–134, here 119. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 377–79 and 382; here are printed relevant documents with English translation. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 176–188. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 185–187. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2009, p. 71 (English translation from Kohler 2015, p. 19, n. 65). Original language: "Die von Orff stets hochgehaltene Autonomie der Kunst war innerhalb der Diktatur nur mehr Illusion – und das Beharren des Komponisten auf einem rein künstlerischen, ästhetischen Standpunkt wandelte sich unter diesen Gegebenheiten zwangsläufig zu einem folgenschweren Irrtum." Rösch, Thomas (2009). Carl Orff – Musik zu Shakespeares "Ein Sommernachtstraum". Entstehung und Deutung. Munich: Orff-Zentrum. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 310. Bergese is credited for the piano arrangements in the publications of Musik der Landschaft, on which he felt that he had not received due credit; see also Kater 2000, pp. 140–141. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kohler 2015, p. 238 n. 152. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 241. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 241–244. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 243. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 436–438; here the letter is reprinted with English translation. For the original publication, see Clara Huber, ed., Kurt Huber zum Gedächtnis. Bildnis eines Menschen, Denkers und Forschers, dargestellt von seinen Freunden (Regensburg: Josef Habbel, 1947), pp. 166–168. The memorial book was reissued a few years after Orff's death with no change to his tribute; see Clara Huber, ed., »...der Tod... war nicht vergebens«, (München: Nymphenburger, 1986), pp. 164–167. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Orff, Carl (1974). Die Bernauerin (Study score, final version (ED 6856) ed.). Mainz: B. Schott's Söhne. pp. 175–176. See also Kohler 2015, p. 299. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 416–418; here one may find a reprint of the letter from Newell Jenkins, dated 7 January 1946, with English translation. For the original, see National Archives, Records of United States Occupation Headquarters, World War II (Record Group 260), Entry A1 1681: Correspondence and Related Records, 1945–1949, Box 928. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 207–209. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 209–217, 228–232. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 227. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 217–237, especially 235–237. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 147–159, 167–176. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 220. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 250. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 441–442, quotation from p. 442; here one may find a reprint of these letters with English translation. For the original publications, see Wilm, Renatus (15 July 1995). "Orff und die "Weiße Rose'". Frankfurter Allgemeine Zeitung, Nr. 162, p. 6; Spangenberg, Christa. (1 July 1995). "Enttäuschung über Sympathie mit den Nazis". Süddeutsche Zeitung, p. 11. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 245–256. "An inordinate amount of attention has been placed on one alleged statement decades after the event by the then-elderly Jenkins, and the discourse has become sensationalistic" (p. 246). Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Schulz, Reinhard (March 1999). "'Alter Schnee?'". Neue Musikzeitung (in German). Vol. 48. p. 48. (English translation from Kohler 2015, p. 246 n. 192) Original language of second quotation: "Viel wichtiger als das einzeln Faktische wäre eine Verstehen solcher Zusammenhänge." Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.
Kohler 2015, pp. 38–39, 68, 218–219. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Palmer 2008, 42:31 (English translation from Kohler 2015, p. 38). Original language of quotation: "Er ging nie in die Kirche, im Gegenteil. Es war wohl auch die Zeit, der inneren Rebellion gegen so etwas ... Er war ein religiöser Mensch, ja, aber kein kirchlicher Mensch." Palmer, Tony (2008). O, Fortuna! (DVD). Voiceprint (TP-DVD118). Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Haas 2004, p. 247, quoting letter from 1960, without exact date (English translation from Kohler 2015, pp. 37, 308). Original language: "Ich weiss, wie innig Sie mit Ihrer Mutter verbunden waren, ähnlich wie ich mit meiner und kann daher die ganze Schwere des Verlustes besonders mitempfinden." Haas, Barbara (2004). Dibelius, Ulrich (ed.). "Die Münchner Komponisten-Trio: Das nicht immer unproblematische Verhältnis zwischen Orff, Egk und Hartmann". Karl Amadeus Hartmann: Komponist Im Widerstreit. Kassel: Bärenreiter: 228–250. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 30–31. Salò explores the artist under totalitarianism through the figure of a pianist (played by Sonia Saviange [fr]); see Testa, Carlo. (2002). Masters of Two Arts: Re-Creation of European Literatures in Italian Cinema. Toronto Italian Studies. Toronto: University of Toronto Press. p. 109. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Orff 1975–1983, p. 66, Vol. IV (English translation from Kohler 2015, p. 114). Original language: "Alles was ich bisher geschrieben und was Sie leider gedruckt haben, können Sie nun einstampfen. Mit Carmina Burana beginnen meine gesammelten Werke." Vol. 4 of Carl Orff und sein Werk: Dokumenation was published in 1979, 42 years after the premiere; Orff added here that the statement had been "much cited since that time" ("inzwischen viel zitierten"). Orff, Carl (1975–1983). Carl Orff und sein Werk. Dokumentation. 8 vols. Tutzing: Hans Schneider. ISBN 3-7952-0154-3, 3-7952-0162-4, 3-7952-0202-7, 3-7952-0257-4, 3-7952-0294-9, 3-7952-0308-2, 3-7952-0308-2, 3-7952-0373-2. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 115–116 and 130–32. A performance of Orpheus in 1938, however, used the pre-Carmina Burana version. More strikingly, there was a concert in 1947 at the University of Mainz featuring one of the cantatas on texts of Franz Werfel and some of the a cappella Catulli Carmina choruses (presumably from one or both of the publications from the early 1930s rather than excerpts from the 1943 Catulli Carmina); there is no evidence Orff was aware of this performance. See article signed Kr. (October 1947). "Der junge Melos-leser schreibt". Melos, vol. 14, no. 12, pp. 349–350. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 318. Original language: "das letzte Stück in der Reihe meiner früheren Werke, ist der Antigone geht ein neuer Abschnitt an". Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 336–360. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Henkel & Messmer 2021, pp. 234–235 Unless otherwise noted, is the source of information for songs with piano. For further information on textual sources, see Kohler 2015, pp. 3683–372. Henkel, Theresa; Messmer, Franzpeter, eds. (2021). Carl Orff. Komponisten in Bayern (in German). Vol. 65. Munich: Allitera. ISBN 978-3-96233-296-9. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 370. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.

ifz-muenchen.de

Kater 1995, p. 30. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, p. 28. Kater's source was a letter from Clara Huber dated 28 June 1994 (p. 28 n. 166), which is not cited in Kater 2000. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 28–29. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 30–31. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 26–29. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, p. 26. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.

imdb.com

IMDb entry for soundtrack of Oliver Stone's film The Doors (scroll to bottom)

independent.co.uk

Duchen, Jessica (4 December 2008). "Dark heart of a masterpiece: Carmina Burana's famous chorus hides a murky Nazi past". The Independent. UK. Archived from the original on 18 January 2009. Retrieved 27 March 2010.

jclarkmedia.com

"Pasolini's Salo" Archived 18 December 2010 at the Wayback Machine, review

jstor.org

Kowalke 2000. Kowalke, Kim H. (Spring 2000). "Burying the Past: Carl Orff and His Brecht Connection". The Musical Quarterly. 84 (1): 58–83. doi:10.1093/mq/84.1.58. JSTOR 742576.

musicandhistory.com

"Music and History: Carl Orff". www.musicandhistory.com. Archived from the original on 5 September 2019. Retrieved 5 March 2019.

nytimes.com

Rothstein, Edward (31 March 1982). "Carl Orff, Teacher and Composer of Carmina Burana, Dead at 86". The New York Times. Retrieved 13 August 2022.
Rockwell 2003. Rockwell, John (5 December 2003). "Reverberations; Going Beyond 'Carmina Burana,' and Beyond Orff's Stigma". The New York Times. Retrieved 13 February 2019.
Kozinn, Allan (24 December 1996). "Newell Jenkins, 81, Conductor Who Found Gems in Archives". Obituaries. The New York Times. p. D 18. Retrieved 17 August 2021.
Taruskin, Richard (6 May 2001). "Orff's Musical and Moral Failings". The New York Times. Retrieved 14 August 2022.

orff-zentrum.de

"Chronology". Carl Orff Center. Munich. 2018. Retrieved 13 February 2019.

portlandphoenix.com

Scearce, J. Mark (19–25 March 2004). "The Wheel of Fortune: Orff and His Gesamtkunsterwerk". The Portland Phoenix. Archived from the original on 24 August 2004. (Link from the Wayback Machine.) The author wrote that Carmina Burana "became the backbeat to Hitler's rise to power", despite the fact that Adolf Hitler became chancellor of Germany on 30 January 1933 and the premiere of Carmina Burana did not take place until 8 June 1937.

schott-music.com

All of these songs were published by Ernst Germann & Co. (Munich/Leipzig). In addition to Eliland, they include "Märchen" (as Opus 13, but in fact Opus 13, No. 3; text by Max Haushofer Jr. [de]), "Des Herzen Slüzzelin" (Opus 15; text by anonymous), "Liebessorgen" and "Drei toskanische Volkslieder" (in one publication, Opus 17 Nos. 1 and 2, respectively; text by Martin Greif and Paul Heyse, respectively), and "Der Tod und die Liebe" (Opus 18, No. 1; text by Münchhausen). Excepting "Der Tod und die Liebe", these songs may be heard on Lieder und Gesänge recorded by WERGO.
Frühe Lieder (Early Songs) published by Schott Music (ED 7024); see List of Compositions for details.
"Carl Orff". Schott Music. 29 March 1982. Retrieved 14 August 2024.
Frühe Lieder (Schott ED 7024). The songs present in Dokumentation but omitted from this publication are Opus 13 No. 1 and three of the Werfel settings: "Lächeln, Atmen, Schreiten", "Fremde sind wir", and "Veni creator spiritus".

stadt-salzburg.at

Göllner, Siegfried (25 March 2021). "Dr. h. c. Carl Orff" (PDF) (in German). p. 9. Retrieved 18 November 2022. Da die Episode über die 'Weiße Rose' nie aktenkundig und von Orff nicht öffentlich aufgestellt wurde, ist letztlich irrelevant, ob sich die von Jenkins gegenüber Kater berichtete Episode so zugetragen hat oder ob es sich um ein Missverständnis handelte. ... Kater hat jedenfalls der Aussage von Jenkins eine zu hohe Relevanz beigemessen. In: "Die Stadt Salzburg im Nationalsozialismus. Biografische Recherchen zu NS-belasteten Straßennamen der Stadt Salzburg" (in German). Retrieved 18 November 2022.

telegraph.co.uk

Heffer, Simon (9 April 2009). "TV review: O Fortuna! Carl Orff and Carmina Burana (Sky Arts 2)". The Telegraph. London. Retrieved 21 November 2014. Although this article makes no claim Orff was in the Party, it refers to him as a "Nazi composer" and "Nazi monster", despite reviewing a film in which Michael H. Kater emphatically stated that "Orff was never a Nazi" (Palmer 2008, at 19:03). Palmer, Tony (2008). O, Fortuna! (DVD). Voiceprint (TP-DVD118).

theguardian.com

Kettle, Martin (2 January 2009). "Secret of the White Rose". The Guardian. London. Retrieved 13 February 2019.

umich.edu

deepblue.lib.umich.edu

Documents pertaining to Orff's denazification, including the official report by Schaffner, are printed in Rathkolb 2021, pp. 236–254 and Kohler 2015, pp. 415–435. The materials from Orff's evaluation are held in the Oskar Diethelm Library, DeWitt Wallace Institute for the History of Psychiatry, Weill Cornell Medical College, New York City, David M. Levy Papers, Box 35, Folder 2 (Schaffner's report) and Folder 40 (Orff's Rorschach test). Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 82. Fanny Orff's parents, Heinrich Kraft (1784–1866) and Barbara Kraft (née Neustädl, 1797–1872), were baptized Catholic, respectively on 3 December 1816 and 15 July 1817. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Seifert 1970, p. 373 (English translation from Kohler 2015, p. 37) Original language: "In meinem Vaterhaus ist sicher mehr musiziert als exerziert worden." For reprint, see Henkel & Messmer 2021, p. 45. Seifert, Wolfgang (1970). "'...auf den Geist kommt es an': Carl Orff zum 75. Geburtstag – Kommentar und Gespräch". Neue Zeitschrift für Musik. 131 (7/8 July/August): 370–377. Interview with Orff and Wolfgang Seifert (1932–2013) on pp. 373–377; interview reprinted in Henkel & Messmer 2021, pp. 45–55. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Henkel, Theresa; Messmer, Franzpeter, eds. (2021). Carl Orff. Komponisten in Bayern (in German). Vol. 65. Munich: Allitera. ISBN 978-3-96233-296-9.
Orff 1975–1983, pp. 21–30, 35, 38, Vol. I For the vignettes, see Das gute Kind, vol. 8, no. 10, 9 July 1905 (Augsburg: Schmid, 1905), pp. 76–77 and 79–80. They are reprinted with English translation in Kohler 2015, pp. 413–414. Orff, Carl (1975–1983). Carl Orff und sein Werk. Dokumentation. 8 vols. Tutzing: Hans Schneider. ISBN 3-7952-0154-3, 3-7952-0162-4, 3-7952-0202-7, 3-7952-0257-4, 3-7952-0294-9, 3-7952-0308-2, 3-7952-0308-2, 3-7952-0373-2. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2009, p. 26 (English translation from Kohler 2015, p. 53) Original language: "Meine Zukunft liegt mehr denn je ganz im Dunkeln. Daß ich ins Feld geh ist unbedingt sicher. Hier soll und wird die Entscheidung fallen, (Du weißt daß ich frei von jeder Sentimentalität bin) entweder ich finde ein Ende von Allem was mich gedrückt und fast zerdrückt hat, oder ich werde ein ganz neuer Mensch und fange in gewissem Sinne ganz neu an. Was kommen muß, soll kommen alles besser, als die Zeit die war." Rösch, Thomas (2009). Carl Orff – Musik zu Shakespeares "Ein Sommernachtstraum". Entstehung und Deutung. Munich: Orff-Zentrum. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rathkolb 2021, p. 146 n. 578. Regarding Orff's memberships or lack thereof in Nazi organizations, see also documents from a Nazi Party inquiry into Carl Orff in 1942 and Dr. Bertram Schaffner's official report of Orff's denazification (1 April 1946), printed in Rathkolb 2021, pp. 202, 205, 236 and Kohler 2015, pp. 391–393, 422. Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Rathkolb, Oliver (2021). Carl Orff und der Nationalsozialismus. Publikationen des Orff-Zentrums München, Band II/2. Mainz: Schott Music. ISBN 978-3-79-572755-0. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 75–81. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 90. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 447–48. This source reprints the letter with English translation; for the original publication (without translation), see Atwater, Betty Ransom. (November 1973). "Erich Katz: Teacher—Composer, 1900–1973". American Recorder XIV (4): 115–134, here 119. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 377–79 and 382; here are printed relevant documents with English translation. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 176–188. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 185–187. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2009, p. 71 (English translation from Kohler 2015, p. 19, n. 65). Original language: "Die von Orff stets hochgehaltene Autonomie der Kunst war innerhalb der Diktatur nur mehr Illusion – und das Beharren des Komponisten auf einem rein künstlerischen, ästhetischen Standpunkt wandelte sich unter diesen Gegebenheiten zwangsläufig zu einem folgenschweren Irrtum." Rösch, Thomas (2009). Carl Orff – Musik zu Shakespeares "Ein Sommernachtstraum". Entstehung und Deutung. Munich: Orff-Zentrum. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 310. Bergese is credited for the piano arrangements in the publications of Musik der Landschaft, on which he felt that he had not received due credit; see also Kater 2000, pp. 140–141. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Kater, Michael H. (2000). Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. ISBN 978-0-19-515286-9.
Kohler 2015, p. 238 n. 152. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 241. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 241–244. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 243. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 436–438; here the letter is reprinted with English translation. For the original publication, see Clara Huber, ed., Kurt Huber zum Gedächtnis. Bildnis eines Menschen, Denkers und Forschers, dargestellt von seinen Freunden (Regensburg: Josef Habbel, 1947), pp. 166–168. The memorial book was reissued a few years after Orff's death with no change to his tribute; see Clara Huber, ed., »...der Tod... war nicht vergebens«, (München: Nymphenburger, 1986), pp. 164–167. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Orff, Carl (1974). Die Bernauerin (Study score, final version (ED 6856) ed.). Mainz: B. Schott's Söhne. pp. 175–176. See also Kohler 2015, p. 299. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 416–418; here one may find a reprint of the letter from Newell Jenkins, dated 7 January 1946, with English translation. For the original, see National Archives, Records of United States Occupation Headquarters, World War II (Record Group 260), Entry A1 1681: Correspondence and Related Records, 1945–1949, Box 928. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 207–209. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 209–217, 228–232. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 227. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 217–237, especially 235–237. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 147–159, 167–176. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 220. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 250. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 441–442, quotation from p. 442; here one may find a reprint of these letters with English translation. For the original publications, see Wilm, Renatus (15 July 1995). "Orff und die "Weiße Rose'". Frankfurter Allgemeine Zeitung, Nr. 162, p. 6; Spangenberg, Christa. (1 July 1995). "Enttäuschung über Sympathie mit den Nazis". Süddeutsche Zeitung, p. 11. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 245–256. "An inordinate amount of attention has been placed on one alleged statement decades after the event by the then-elderly Jenkins, and the discourse has become sensationalistic" (p. 246). Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Schulz, Reinhard (March 1999). "'Alter Schnee?'". Neue Musikzeitung (in German). Vol. 48. p. 48. (English translation from Kohler 2015, p. 246 n. 192) Original language of second quotation: "Viel wichtiger als das einzeln Faktische wäre eine Verstehen solcher Zusammenhänge." Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.
Kohler 2015, pp. 38–39, 68, 218–219. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Palmer 2008, 42:31 (English translation from Kohler 2015, p. 38). Original language of quotation: "Er ging nie in die Kirche, im Gegenteil. Es war wohl auch die Zeit, der inneren Rebellion gegen so etwas ... Er war ein religiöser Mensch, ja, aber kein kirchlicher Mensch." Palmer, Tony (2008). O, Fortuna! (DVD). Voiceprint (TP-DVD118). Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Haas 2004, p. 247, quoting letter from 1960, without exact date (English translation from Kohler 2015, pp. 37, 308). Original language: "Ich weiss, wie innig Sie mit Ihrer Mutter verbunden waren, ähnlich wie ich mit meiner und kann daher die ganze Schwere des Verlustes besonders mitempfinden." Haas, Barbara (2004). Dibelius, Ulrich (ed.). "Die Münchner Komponisten-Trio: Das nicht immer unproblematische Verhältnis zwischen Orff, Egk und Hartmann". Karl Amadeus Hartmann: Komponist Im Widerstreit. Kassel: Bärenreiter: 228–250. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 30–31. Salò explores the artist under totalitarianism through the figure of a pianist (played by Sonia Saviange [fr]); see Testa, Carlo. (2002). Masters of Two Arts: Re-Creation of European Literatures in Italian Cinema. Toronto Italian Studies. Toronto: University of Toronto Press. p. 109. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Orff 1975–1983, p. 66, Vol. IV (English translation from Kohler 2015, p. 114). Original language: "Alles was ich bisher geschrieben und was Sie leider gedruckt haben, können Sie nun einstampfen. Mit Carmina Burana beginnen meine gesammelten Werke." Vol. 4 of Carl Orff und sein Werk: Dokumenation was published in 1979, 42 years after the premiere; Orff added here that the statement had been "much cited since that time" ("inzwischen viel zitierten"). Orff, Carl (1975–1983). Carl Orff und sein Werk. Dokumentation. 8 vols. Tutzing: Hans Schneider. ISBN 3-7952-0154-3, 3-7952-0162-4, 3-7952-0202-7, 3-7952-0257-4, 3-7952-0294-9, 3-7952-0308-2, 3-7952-0308-2, 3-7952-0373-2. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 115–116 and 130–32. A performance of Orpheus in 1938, however, used the pre-Carmina Burana version. More strikingly, there was a concert in 1947 at the University of Mainz featuring one of the cantatas on texts of Franz Werfel and some of the a cappella Catulli Carmina choruses (presumably from one or both of the publications from the early 1930s rather than excerpts from the 1943 Catulli Carmina); there is no evidence Orff was aware of this performance. See article signed Kr. (October 1947). "Der junge Melos-leser schreibt". Melos, vol. 14, no. 12, pp. 349–350. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 318. Original language: "das letzte Stück in der Reihe meiner früheren Werke, ist der Antigone geht ein neuer Abschnitt an". Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, pp. 336–360. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Henkel & Messmer 2021, pp. 234–235 Unless otherwise noted, is the source of information for songs with piano. For further information on textual sources, see Kohler 2015, pp. 3683–372. Henkel, Theresa; Messmer, Franzpeter, eds. (2021). Carl Orff. Komponisten in Bayern (in German). Vol. 65. Munich: Allitera. ISBN 978-3-96233-296-9. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.
Kohler 2015, p. 370. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.

uni-heidelberg.de

books.ub.uni-heidelberg.de

Ebert, Anja (2017). "Erwerbungen aus der Sammlung Prybram. Ein schmaler Grat zwischen Kauf und Raub". Gekauft – Getauscht – Geraubt? Erwerbungen zwischen 1933 und 1945. Verlag des Germanischen Nationalmuseums. pp. 106–123, here 107–111.

web.archive.org

"Music and History: Carl Orff". www.musicandhistory.com. Archived from the original on 5 September 2019. Retrieved 5 March 2019.
Scearce, J. Mark (19–25 March 2004). "The Wheel of Fortune: Orff and His Gesamtkunsterwerk". The Portland Phoenix. Archived from the original on 24 August 2004. (Link from the Wayback Machine.) The author wrote that Carmina Burana "became the backbeat to Hitler's rise to power", despite the fact that Adolf Hitler became chancellor of Germany on 30 January 1933 and the premiere of Carmina Burana did not take place until 8 June 1937.
List of items in Erich Katz Collection Archive (PDF) Regis University. p. 6. Retrieved 1 November 2011.
Review of "Carl Orff im Dritten Reich" Archive, by David B. Dennis, Loyola University Chicago (25 January 1996)
Duchen, Jessica (4 December 2008). "Dark heart of a masterpiece: Carmina Burana's famous chorus hides a murky Nazi past". The Independent. UK. Archived from the original on 18 January 2009. Retrieved 27 March 2010.
"Pasolini's Salo" Archived 18 December 2010 at the Wayback Machine, review

welt.de

Schleusener, Jan (11 February 1999). "Komponist sein in einer bösen Zeit". Die Welt (in German). Berlin. Retrieved 13 February 2019. The author reports "sharp attacks" (Scharfe Angriffe) from Hans Jörg Jans against Michael H. Kater.

wikipedia.org

de.wikipedia.org

All of these songs were published by Ernst Germann & Co. (Munich/Leipzig). In addition to Eliland, they include "Märchen" (as Opus 13, but in fact Opus 13, No. 3; text by Max Haushofer Jr. [de]), "Des Herzen Slüzzelin" (Opus 15; text by anonymous), "Liebessorgen" and "Drei toskanische Volkslieder" (in one publication, Opus 17 Nos. 1 and 2, respectively; text by Martin Greif and Paul Heyse, respectively), and "Der Tod und die Liebe" (Opus 18, No. 1; text by Münchhausen). Excepting "Der Tod und die Liebe", these songs may be heard on Lieder und Gesänge recorded by WERGO.
Busch-Frank 2020. Busch-Frank, Sabine (24 June 2020). "'Er war politisch erschreckend naiv.' Der Wiener Historiker Oliver Rathkolb hat das Leben Carl Orffs in der NS-Zeit untersucht". Donaukurier [de] (in German). Retrieved 20 August 2022.
Prieberg 2009, pp. 4870–4892. Notably, Julius Weismann and Rudolf Wagner-Régeny both accepted 2,000 RM in 1934 from the Nationalsozialistische Kulturgemeinde [de] to compose music for Shakespeare's play; Hans Pfitzner, Werner Egk, and Gottfried Müller also were asked but declined. Prieberg, Fred K. (2009). Handbuch Deutsche Musiker 1933–1945 (2nd. ed.). Self-published CD-Rom.

fr.wikipedia.org

Kohler 2015, pp. 30–31. Salò explores the artist under totalitarianism through the figure of a pianist (played by Sonia Saviange [fr]); see Testa, Carlo. (2002). Masters of Two Arts: Re-Creation of European Literatures in Italian Cinema. Toronto Italian Studies. Toronto: University of Toronto Press. p. 109. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359.

worldcat.org

search.worldcat.org

Kater 1995, p. 30. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, p. 28. Kater's source was a letter from Clara Huber dated 28 June 1994 (p. 28 n. 166), which is not cited in Kater 2000. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 28–29. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 30–31. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, pp. 26–29. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Kater 1995, p. 26. Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702.
Rösch 2021a, p. 13. Other sources (e.g., Dangel-Hofmann 1999; Kater 1995, p. 4) give 1925 as the date of the divorce, but Orff's Ahnenpass (a document from the Third Reich proving ancestry, which he filled out early in 1938) gives the dates of marriage as 25 August 1920 and divorce as 9 December 1927 (Kohler 2015, pp. 55, 84). No date is given in Drobnitsch 1989, p. 82. Rösch, Thomas (2021a). "Carl Orff 1895–1982. Der Lebensweg eines Musiktheater-Komponisten im 20. Jahrhundert". In Henkel & Messmer (2021), pp. 11–44. Dangel-Hofmann, Frohmut (1999), "Orff, Carl", Neue Deutsche Biographie (in German), vol. 19, Berlin: Duncker & Humblot, pp. 588–591; (full text online) Kater, Michael H. (1995). "Carl Orff im Dritten Reich" [Carl Orff in the Third Reich] (PDF, 1.6 MB). Vierteljahrshefte für Zeitgeschichte (in German). 43 (1): 1–35. ISSN 0042-5702. Kohler, Andrew S. (2015). 'Grey C, Acceptable': Carl Orff's Professional and Artistic Responses to the Third Reich (PhD dissertation). University of Michigan. hdl:2027.42/111359. Drobnitsch, Helmut (1989). "Ahnen Prominenter Bayern VII. Die Familie des Komponisten Carl Orff (1895–1982)". Blätter des bayerischen Landesvereins für Familienkunde. 52: 73–83.

zeit.de

Büning, Eleonore (7 July 1995). "Die Musik ist schuld". Die Zeit (in German). Hamburg. Retrieved 13 February 2019. Büning inaccurately wrote that Orff joined the Nazi Party in 1940.