Der Dirigent Ferdinand Leitner (1912-1996) war einer der aktivsten Förderer des musikdramatischen Schaffens von Carl Orff (1895-1982). Als Generalmusikdirektor des Staatstheaters Stuttgart etablierte er dort eine der wichtigsten Aufführungsorte von Orffs Werken und dirigierte nicht nur die Uraufführung von Oedipus der Tyrann (1959) und Prometheus (1968), sondern auch zahlreiche Erstaufführungen seiner Werke. Dieser Briefwechsel dokumentiert beispielhaft die intensive Zusammenarbeit zwischen einem der wichtigsten Komponisten der Moderne und dem international tätigen Dirigenten. Der Komponist und sein Interpret - ein Gespräch in Briefen Erscheint zum Orff-Jahr 2007 Beginn einer neuen Carl-Orff-Briefausgabe

Publikationen des Orff-Zentrums München Vol. I/1

This edition is meant for concert performances by schools and amateur music societies only. Furthermore it is not meant for performances of the "Trionfi" cycle. Here you can find the original version [1] and the hire material [2] for your performance. Links : ------ [1] http : //www. schott-music. com/shop/1/show, 31705. html [2] http : //www. schott-music. com/shop/Hire_Material/1000163/1/show, 154469, s. html Instrumentation : soloists (STBar), mixed choir (SATB), children's choir, 2 pianos and percussion

Carmina Burana - Cantiones profanae. soloists (STBar), mixed choir (SATB), children's choir, 2 pianos and percussion. Partition.

Like the Quartettsatz of 1914 (ED 7816), Quartettsatz in c-Moll of 1921, premièred by the Henschel Quartet at the Orff Centre in Munich in 2007, testifies to Orff's early struggles towards the classical-Romantic tradition. Originally left unfinished as a fragment in C sharp minor, the first version has now been reconstructed (in C minor) from a source that only survived as a copy with autograph corrections. It is interesting to see a new tonal language appearing quite suddenly (and notated without bar lines in the first version) in the coda. Instrumentation : string quartet

Edition Schott

Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of "Music for Children" by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk : Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that : - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided ; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller : 'I have done my part, now do yours. ' That challenge has been taken up by teachers worldwide. American Edition It was in the mid-1950s that the ideas which Carl Orff established in his "Schulwerk" first achieved prominence in the United States and Canada ; the publication in 1956 of Doreen Hall and Arnold Walter's adaption into english represented the first venture in applying the original Carl Orff/Gunild Keetman work towards the needs of a different language and educational culture. The new American Edition, developed twenty years later to meet the needs of a country with an immensely rich cultural and ethnic heritage, demanded a large and diverse team of collaborators to draw upon this wealth. Carl Orff and his publishers entrusted Hermann Regner from the Orff Institute in Salzburg with the concept and co-ordination of the series ; in this way, the Edition would profit from the experience gained from all parts of the world in this adaption of Orff's pedagogical ideas. The three volumes of the American Edition contain a wide range of both traditional and new material (speech exercises, games, dances, texts, songs with instrumental pieces, information on how to use the material). Orff-Schulwerk is not a method that should be followed page by page ; it is a collection of material that invites original arrangements or variations and the composition of complementary and contrastiong material. It mirrors a vision of an education which considers music and dance not as a 'fringe programme' but essential for our entire being. These media '... are, in all world cultures, as important for survival as water and air. Man becomes an entity again when he makes music and when he dances ; he uses his hands and feet, his body, his senses, his intellect and emotion. ' (Hermann Regner, in the Foreword to Volume 1 of the American Edition) This edition follows the tradition of Schulwerk editions from other countries and contains some vocal and instrumental material from the original Schulwerk. However, most of the material has been contributed by leading educators using material developed in American classrooms, that reflects the vast panorama of the cultural heritage of the United States. Photographs and sample lessons illustrate the work. In all volumes there are several articles, each dealing with a specific topic within the field of Music and Dance Education. These unique volumes provide a rich and varied source of material which will stimulate the imagination of Orff-Schulwerk teachers everywhere. Contributors of Volume 2 : Tossi Aaron, Arnold E. Burkart, Isabel Carley, Gerald P. Dyck, Nancy Ferguson, Jane Frazee, Ruth Pollock Hamm, Maureen Kennedy, Susan Kennedy, Marcia Lunz, Joachim Matthesius, Grace Nash, Erik Nielsen, Sue Ellen Page, Martha Pline Polon, Jacobeth Postl, Pat Riello, Konnie Saliba, Miriam Samuelson, Donald Slagel, Judith Thomas, Martha Maybury Wampler Instrumentation : voice, recorder and percussion

Orff-Schulwerk Vol. 2

This very recognisable and well known piece is often featured on television and in film. Gradually becoming more emotional and culminating in a powerful final. Also available as a piano for four hands : ED 22492. Originally taken from the Orff Schulwerk, Gassenhauer has been featured in several major films including Badlands (1973), Monster (2003), and more recently Michael Moore's "Capitalism : A Love Story". Instrumentation : piano

Diese Geschichte, ursprünglich als Hörspiel entworfen, eignet sich hervorragend zur szenischen Darstellung. Der Originaltext ist in bayrischem Dialekt, es stehen jedoch Textblätter in schwäbischer (K. Hötzer), alemannischer, rheinhessischer (K. F. Frey) , plattdeutscher (H. Diers), flämischer, niederländischer, schwedischer (A. Henrikson), englischer und französischer Fassung zur Verfügung. Instrumentation : children's choir (SMezA) with sollists, speakers and instruments

Orff-Schulwerk

Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of "Music for Children" by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk : Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that : - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided ; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller : 'I have done my part, now do yours. ' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition "musik für Kinder", english adaption with additional material by Doreen Hall and Arnold Walter. Instrumentation : voice, recorder and percussion

Orff-Schulwerk Vol. 3

Orff-Schulwerk has been translated and adapted for use in many countries and there are editions in numerous languages, with a comprehensive range of supplementary material. Those teachers using the various English editions will find here a rich and exciting source of traditional folk songs, dance melodies and original material from other countries, which will enlarge and enrich the activites and experiences of their pupils. Instrumentation : voice, recorders and percussion

Carl Orff, né le 10 juillet 1895 à Munich et mort le 29 mars 1982 dans la même ville, est un compositeur allemand. Son œuvre la plus connue est Carmina Burana.

Dites-moi, j'oublie, montre-moi, je me souviens, m'implique, je comprends.

Depuis le début des temps, les enfants n'ont pas aimé étudier. Ils préfèrent de loin jouer, et si vous avez leurs intérêts dans l'âme, vous les laisseras apprendre pendant qu'ils jouent.

Le sujet couvert de Carmina reste assez basique: l'amour, la luxure, les plaisirs de la consommation d'alcool et les humeurs accrues évoquées par le printemps. Ces thèmes primitifs et pertinents persistants sont bien camouflés par les textes latins et vieux allemands, de sorte que l'auditeur peut en fait feindre l'ignorance tout en écoutant des paroles pratiquement classées X. (Veni Veni Venias! Viens, viens maintenant!) La musique elle-même bascule entre les énormes forces et une seule voix, juxtaposant la majesté et l'intimité avec facilité.

La musique élémentaire n'est jamais seulement de la musique. Il est lié au mouvement, à la danse et à la parole, et c'est donc une forme de musique dans laquelle il faut participer, dans lequel on n'est pas impliqué en tant que buste auditeur en tant que co-performé.

Depuis le début des temps, les enfants n'ont pas aimé étudier. Ils préfèrent de beaucoup jouer, et si vous avez leurs intérêts dans l'âme, vous les laisseras apprendre pendant qu'ils jouent; Ils constateront que ce qu'ils ont maîtrisé est le jeu de l'enfant.

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