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THE fESTIVll..L OPE!:'..'. RDDllCT:f;~''i STAFF .?-V{ Musical Direction-------------------------Stanley Chapple f'SO' Musical Preparation-----------------------Alexander Kuchunas Stage Direction---------------------------Ralph Rosinbum /' Scenic Design-----------------------------John Ashby Conway UNIVERSITY OF WASHINGTON Costnme Design----------------------------James Crider FESTIVAL OPERA Technical Director------------------------Don Klovstad Lighting Design---------------------------Lee Harmon Stage Manager-----------------------------Daniel Brenner and the Office of Lectures and conce~ Assistant Stage Directors-----------------Richard Krueger Randall Holden Repetiteur--------------------------------Marlene ThaI present Performance rights granted by: Mills Music, Inc. (Hello Out There); Schotts Music Publishing Co. (Wise Woman). HELLO OUT THERE 56 10 ORCHESTRA "Hello Out There" based on the play by William Saroyan String Quintet Wood Winds Music by Jack Beeson **Martin Friedmann *Felix Skowronek **David Buck *Laila Storch Carol Kapek *William McColl **Michael Matesky *Arthur Grossman AND Harold Johanson Brass Pe raussion *Christopher Leuba .. *David Shrader **Timothy Dunlop THE WISE WOMAN (DIE KLUGE) sG Ii *Faaulty Member Piano Sbl~ **Graduate Student James van Horn Music by Carl OIff "Wise Woman" Violin Bass Trumpet Cynthia Cole Glenn Stallcop Keith Baggerly \ Sherry Peterson Flute & Piaaol-o Jeffrey Cole / Loryn Davidson Leslie Hall Charles Stowell Roger Faris Grace Millay Terry Nickels Phyllis West Betsy Raleigh Trombone Mark Lutz -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
Musica Jazz Autore Titolo Ubicazione
MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis -
INDIANAPOLIS OPERA COMPANY PRESENTS How to Fight Inflation
INDIANAPOLIS OPERA COMPANY PRESENTS How to fight inflation. * It looks like a piano. And it sounds like a piano. But it's more than a piano. It's a Steinway. And that means that it's not only a fine musical instrument. It's a fine investment as well. So fine, that people with 30 year old Steinways are selling them today for more than they originally paid. What makes a Steinway such a blue chip investment? Work. Experience. Work. Caring. Work. Using mortised joints where butt joints could get by. Making each individual hammer instead of buying them from someone else. Voicing each piano for 8 full hours. A thousand other details. It takes a full year of this kind of work to complete one Steinway grand. A year that pays dividends in tone, touch and power year after year after year. What this means is that although you pay more, a Steinway doesn't really cost more. Because no matter how you decide to play it, a Steinway outperforms the market. For more information visit any of the 5 Wilking Stores and let one of our keyboard counselors relate the complete story or call 293-4717 and we will be pleased to mail you complete descriptive information. The Steinway House of Indiana Downtown: 43 East Washington Street 637-1326 Ayr-Way Greenwood Mall: U.S. 31 S. and County Line Rd. 882-9195 Castleton Square 849-9402 Lafayette Square 297-4121 Washington Square 898-6451 OPEItf. \Ji FOUR ACT5 APRIL 27, 29, 30, 1977 8:00 P.M. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
Carl Orff Die Kluge Mp3, Flac, Wma
Carl Orff Die Kluge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Die Kluge Country: Germany Style: Modern, Opera MP3 version RAR size: 1909 mb FLAC version RAR size: 1356 mb WMA version RAR size: 1620 mb Rating: 4.3 Votes: 411 Other Formats: AC3 XM WAV DXD DMF VQF MOD Tracklist Die Geschichte Von Dem König Und Der Klugen Frau A Carl Orff Spricht Den Prolog, 1.-3. Szene B 4.-6. Szene C 7.-8. Szene, 9. Szene (1. Teil) D 9. Szene (Schluß), 10.-12. Szene, Carl Orff spricht den Epilog Credits Baritone Vocals [Der König] – Marcel Cordes Baritone Vocals [Zweiter Strolch] – Hermann Prey Bass Vocals [Der Bauer] – Gottlob Frick Bass Vocals [Der Kerkermeister] – Georg Wieter Bass Vocals [Der Mann Mit Dem Maulesel] – Benno Kusche Bass Vocals [Dritter Strolch] – Gustav Neidlinger Composed By, Narrator [Speaker], Other [Recording Supervisor] – Carl Orff Conductor – Wolfgang Sawallisch Liner Notes – K. H. Ruppel Orchestra – Philharmonia Orchester London* Soprano Vocals [Die Kluge] – Elisabeth Schwarzkopf Tenor Vocals [Der Mann Mit Dem Esel] – Rudolf Christ Tenor Vocals [Erster Strolch] – Paul Kuen Notes Recorded under the personal supervision of Carl Orff Recorded in London · May 1956 Other versions Category Artist Title (Format) Label Category Country Year Angel ANGEL 3551 Records, ANGEL 3551 B/L, ANG. Die Kluge (2xLP, Angel B/L, ANG. Carl Orff US 1956 35389, ANG. Mono + Box) Records, 35389, ANG. 35390 Angel 35390 Records Elisabeth Schwarzkopf / Elisabeth Marcel Cordes / Schwarzkopf / Gottlob Frick / Marcel Cordes / Rudolf Christ / The Record Gottlob Frick / Benno Kusche / Society, Rudolf Christ / Paul Kuen / World 40-6040, No. -
HANS-URS WILI CARL ORFF: Carmina Burana
HANS-URS WILI 1 CARL ORFF: Carmina Burana (1937) 19.04.2012/huw (Wohlen2012NovORFF0.docx) Zum Konzert des Singkreises Wohlen vom 10. November 2012 im Casino Basel und vom 11. November 2012 im Casino Bern: CARL ORFF (1895-1982): Carmina Burana. Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (1937) Bst. Inhalt Rz. S. A Einleitung ……………………………………………………………… 1-2 1 B CARL ORFFs Leben ……………………………………………………. 3-32 2-16 C Carmina Burana ……………………………………………………. 33-91 16-37 Ca Zum Inhalt der Carmina Burana …………………………………. 35-37 17-18 Cb Historische Hintergründe …………………………………. 38-69 18-31 Cb.I Eigenkirchenwesen …………………………………. 38-42 18-21 Cb.II Kreuzzugswirren …………………………………. 43-46 21-23 Cb.III Zölibat und klerikale Elitenentwicklung ………………. 47-54 23-27 Cb.IV Universität und Gelehrte ………………………… 55-60 27-28 Cb.V Latein …………………………………………………….. 61 29 Cb.VI Elitäre Obszönitäten ………………………………….. 62-64 29-30 Bc.VII Leichs ……………………………………………………... 65-69 30-31 Cc Zur Musik der Carmina Burana ………………………………….. 70-91 31-37 Cc.I Persiflagen ………………………………...…………. 70-75 31-33 Cc.II Zitate ……………………………..………………………. 76-77 33-34 Cc.III Charakter der Musik ………………………………….. 78-91 34-37 D Benediktbeuren ………………………………………………………………. 92-94 38-39 E Fortuna und (Anankè) …………………………………………… 95 39 F Literatur ………………………………………………………………. - 39-42 A Einleitung 1 Mit CARL ORFFS Carmina Burana singen der Projektchor SMW Frick und der Singkreis Wohlen gemeinsam das wohl populärste Werk der E-Musik des 20. Jahrhunderts.1 Dabei kann man sich fragen, inwieweit das Werk überhaupt zu Recht der E-Musik zugerechnet wird. Derbheit und karikierende Parodie verschiedener Gesänge haben musikalisch Schlager inspiriert und führen Bilder einer Spottlust vor Augen, die landläufig weit eher der U-Musik zugeordnet werden könnte. -
Hifi-Stars Technik
e d ISSN 1867-5166 . 2017 r s r ua r a t s Ausgabe 33 - Feb – f Dezember 2016 - i h Februar 2017 2016 2016 r Ausgabe Ausgabe 33 Dezembe sfr 15,50 sfr z i e w h t c r |S a s 0 ,0 en 13 b € e g r L u b m xe u L | 13,00 Luxemburg € | Musik – 0 3 – , 2 1 € h c 12,30 € ich i Technik e r r e t s Ö | € 11 d n a l h c s t eu D 50033 50033 S R TA S - I ELIXIR | Rio Reiser | Mühle-Glashütte F I H 4 197947 197947 011001 4 Technik HiDiamond cable interconnect and speaker cable Diamond Series 7 Diamonds are forever Some cable manufacturers have called their company as its HiDiamond became the largest Italian producer in founder, other companies prefer to give a fancy name like Europe for the cables for audio and video. So it's not a HiDiamond, the road traveled in this case by its Italian creator, newcomer, but a well established company. founded in 2000 by a Dr. Salvatore Filippelli. Dr. Filippelli was general manager of Nextream a subsidiary of the French group Thomson and wanted with HiDiamond, realize his vision of excellent products and design. 68 Hifi-StarS Technik its products have already found in the specialized press contact. It further appears necessary, because with a in many countries a positive response. Recently, the diameter of almost two centimeters HiDiamond 7 German company Bellevue has taken over the raggiuge major proportions! distribution of HiDiamond for Germany, Austria and Switzerland. -
Lp Stock Database
Excluding Children, Classical/Ballet/ Opera, Religious Vinyl 4U Main Database (see other databases for these) 1 LP (x1) 2 Contact: Judy Vos [email protected] LP's (x2) # of LPs in Artist/s or Group Composer Album Name Album 101 Strings After a hard day x1 101 Strings Lerner&Loewe Camelot x1 101 Strings Exodus and other great movie themes x1 101 Strings Webb/BacharachMillion Seller Hits x1 10CC Bloody Tourists x1 ABBA Arrival x1 ABBA Gracias por la Musica x1 ABBA Gracias por la musica (in Spanish) x1 ABBA Greatest Hits x1 ABBA Greatest Hits x1 ABBA Greatest Hits x1 ABBA Greatest Hits x1 ABBA Greatest Hits x1 ABBA Super Trouper x1 ABBA Super Trouper x1 ABBA Super Trouper x1 ABBA Super Trouper x1 ABBA The Album x1 ABBA The Album x1 Abba The Album x1 ABBA The Singles - The 1st 10 years x2 ABBA The Visitors x1 ABBA The Visitors x1 ABBA The Visitors x1 ABBA The Visitors x1 ABBA The Visitors x1 ABBA Voulez Vouz x1 ABBA Voulez-Vous x1 ABBA Voulez-Vous x1 ABBA Voulez-Vous x1 ABC Beauty Stab x1 Acker Bilk Stranger on the shore x1 Acker Bilk & Bent Fabric Cocktails for Two x1 Acker Bilk & others Clarinet Jamboree x1 Acker Bilk & Stan Tracey Blue Acker x1 Acker Bilk Esquire A Taste of honey x1 Acker Bilk with Leon Young Stranger on the Shore x1 Adam and the Ants Kings of the Wild Frontier x1 Adam and The Beasts Alasdair Clayre x1 Adamo A L'Olympia x1 Adamo Adamo x1 Adamo The Hits of Adamo x1 Adrian Brett Echoes of Gold x1 Adrian Gurvitz Classic x1 Agnetha Faltskog Eyes of a woman x1 Agnetha Faltskog Wrap your arms around me x1 A-Ha Stay on these -
Orff's OPERAS: Suitable Even for the Unexperienced EARS
PRESS RELEASE opera Mgr. SILVIA HRONCOVÁ Director of Opera ORff’S OPERAS: SUITABLE EVEN FOR THE UNEXPERIENCED EARS Prague, 13 October 2016 The National Theatre Opera prepared two opera specialities for its audience that can be seen and heard during one evening: the two one-act fairytale operas Die Kluge and Der Mond by Carl Orff, globally known for the famous cantata Carmina Burana. These operas premiere on 20 and 21 October 2016 under the baton of Zbyněk Müller and the director will be Jiří Nekvasil. Both operas retell in the form of entertainment and epic folk theatre the respective fairytales of the Grimm brothers. Die Kluge (The Wise Girl) is about a poor but shrewd peasant girl who can answer any riddle, outwits the three swindlers and even wins the love of the king. Der Mond (The Moon) is a story about foolish people who steal the Moon for themeselves until Peter, the guard of heaven retrieves it and hangs it in the sky, out of reach of their meddlesome hands. “Orff’s intention was to entertain and educate in a noble way, particularly the more adult audience. The composer found the operatic form that can captivate audiences of the late 20th century,“ says conductor Zbyněk Müller and continues: “The combination of an innocent child‘s world with the corruption of the adult world seems really attractive and original. This contrast certainly highlights one of the small messages that we can find in this piece.“ “Tales of the Brothers Grimm are quite excentric in comparison with the traditional ones. -
Darmstadt Laudatio John Dew 03 03 12
LAUDATIO Sehr geehrter, lieber John Dew, meine sehr geehrten Premierengäste beim MOND von Carl Orff! Im vergangenen Jahrhundert gab es einige Regisseure, die sich kontinuierlich und intensiv mit dem Werk von Carl Orff auseinandergesetzt haben. Günther Rennert Oskar Fritz Schuh Rudolf Hartmann Wieland Wagner Heinz Arnold Gustav Rudolf Sellner August Everding Alle diese Regisseure haben in enger Zusammenarbeit mit Orff dessen Stücke entwickeln und aufführen können Wichtig ist aber, wie Orff immer wieder betonte, nicht nur, dass die Stücke uraufgeführt werden, sondern dass man sie nachspielt. Everding klagte oft, dass etwa 95% der Komponisten, deren Werke er inszenierte, tot waren und nicht mehr befragt werden konnten. Wieland Wagner hatte sogar geplant, PROMETHEUS im Rahmen der Bayreuther Festspiele uraufzuführen, was leider durch seinen frühen Tod 1966 vereitelt wurde. Hellmuth Matiasek hatte als künstlerischer Leiter von ORFF IN ANDECHS im dortigen Florianstadl die Märchenopern DER MOND, DIE KLUGE, den SOMMERNACHTSTRAUM, ASTUTULI und DIE BERNAUERIN herausgebracht. Marcus Everding setzt nun diese Tradition fort in Zusammenarbeit mit der Orchesterakademie des Münchner Rundfunkorchesters. Sie, lieber John Dew, sind der erste und einzige in diesem Jahrhundert, der es gewagt hat, als Intendant eines Opernhauses das Bühnenwerk von Carl Orff konsequent auf die Bühne zu bringen. Sie begannen gleich mit dem Schwierigsten: mit den Griechendramen OEDIPUS und ANTIGONAE, jenen Werken, in denen sich Orff am radikalsten vom Operntheater entfernt und sich mit dem traditionellen japanischen Theater auseinandergesetzt hat. Er sagte mir einmal nach dem Besuch einer No-Theater-Aufführung im Münchner Marstalltheater: “Selbst wenn es nicht so ist, i c h glaube an die Wiedergeburt der griechischen Tragödie durch das japanische Theater!“ Sie haben die beiden Sophoklesdramen in der deutschen Übertragung von Friedrich Hölderlin überzeugend auf die Bühne gestellt und damit gezeigt, wie aktuell diese Orffsche Sophoklesdeutung noch heute ist. -
Inhaltsverzeichnis
Carl Orff Zur Navigation springen Zur Suche springen Orff ist eine Weiterleitung auf diesen Artikel. Weitere Bedeutungen sind unter Orff (Begriffsklärung) aufgeführt. Carl Orff (1956) Carl Orff um 1970 Carl Orff (* 10. Juli 1895 in München; † 29. März 1982 ebenda) war ein deutscher Komponist und Musikpädagoge. Sein bekanntestes Werk ist die szenische Kantate Carmina Burana, die zu einem der populärsten Chorwerke des 20. Jahrhunderts wurde. Inhaltsverzeichnis • 1 Leben o 1.1 Verhältnis zum NS-Staat o 1.2 Weitere Tätigkeiten o 1.3 Privatleben • 2 Werke o 2.1 Bühnenwerke o 2.2 Andere Werke • 3 Ehrungen (Auswahl) • 4 Nachwirken und Rezeption • 5 Schüler • 6 Siehe auch • 7 Literatur • 8 Weblinks • 9 Einzelnachweise Leben Carl Orff, 1895 in der Maillingerstraße 16 (heute: Hausnr. 30[1]) im Münchener Stadtteil Neuhausen geboren,[2] war der Sohn des Berufsoffiziers Heinrich Orff und erhielt ab 1900 Klavier-, Cello- und Orgelunterricht. In diesem Jahr erschien auch seine erste Komposition. Frühe Erfahrung im Musizieren in der Gruppe sammelte er als Schüler des Wittelsbacher- Gymnasiums, wo er das Schulorchester auf der Orgel, dem Klavier oder Harmonium begleitete und im Schulchor Solopartien als Sopran übernahm. Außerdem sang er sonntags im Kirchenchor, und zuhause, von seiner Mutter am Klavier begleitet, Opernpartien nach Klavierauszügen. Mit 14 Jahren war er nach dem Besuch der Oper Der Fliegende Holländer von Richard Wagner tagelang so erregt, dass er diese bald darauf mit einem Klavierauszug ausgestattet erneut besuchen musste, um wieder ansprechbar zu werden.[3] Nachdem Carl Orff 1911 unter anderem Gedichte von Hölderlin und Heine für Gesang und Klavier vertont hatte, studierte er von 1913 bis 1914 an der Königlichen Akademie der Tonkunst in München und widmete sich daneben der Musikpädagogik.