Editing Carl Orff (section)

==Works==

===''Carmina Burana''===
Orff is best known for ''[[Carmina Burana (Orff)|Carmina Burana]]'' (1936), a "scenic [[cantata]]". It is the first part of a trilogy that also includes ''[[Catulli Carmina]]'' and ''[[Trionfo di Afrodite]]''. ''Carmina Burana'' reflects his interest in [[Middle High German literature|medieval German poetry]]. The trilogy as a whole is called ''[[Trionfi (Orff)|Trionfi]]'', or "Triumphs". The work is based on thirteenth-century poetry found in a manuscript dubbed the ''Codex latinus monacensis'' found in the [[Benedictine]] [[Benediktbeuern Abbey|monastery]] of [[Benediktbeuern]] in 1803 and written by the [[Goliard]]s; this collection is also known as ''[[Carmina Burana]]''. While "modern" in some of his compositional techniques, Orff was able to capture the spirit of the [[Middle Ages|medieval period]] in this trilogy. The medieval poems, written in [[Latin]] and an early form of German, are a lament about the [[O Fortuna|cruel indifference of fate]] (the brief opening and closing sections of Orff's work are titled "Fortuna Imperatrix Mundi", i.e., "Fortune, Ruler of the World"). The chorus that opens and concludes ''Carmina Burana'', "[[O Fortuna (Orff)|O Fortuna]]", is often used to denote primal forces, for example in the [[Oliver Stone]] film ''[[The Doors (film)|The Doors]]''.<ref>[https://www.imdb.com/title/tt0101761/soundtrack IMDb entry for soundtrack] of Oliver Stone's film ''[[The Doors (film)|The Doors]]'' (scroll to bottom)</ref> The work's association with fascism also led [[Pier Paolo Pasolini]] to use the movement "Veris leta facies" to accompany the concluding scenes of torture and murder in his final film ''[[Salò, or the 120 Days of Sodom]]''.<ref>[http://jclarkmedia.com/pasolini/pasolini25.html "Pasolini's Salo"] {{Webarchive|url=https://web.archive.org/web/20101218052513/http://jclarkmedia.com/pasolini/pasolini25.html |date=18 December 2010 }}, review</ref> Pasolini was concerned with the question of art being appropriated by power when he made the film, which has relevance to Orff's situation.{{sfn|Kohler|2015|pp=30–31 |postscript=. ''Salò'' explores the artist under totalitarianism through the figure of a pianist (played by {{ill|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.}}

===Relationship to pre-''Carmina Burana'' works===
Orff often said that, following a dress rehearsal for ''Carmina Burana'', he told his publisher the following: "Everything that I have written up until now and that you, unfortunately, have printed you now can pulp. With ''Carmina Burana'' begins my collected works."<ref>{{harvnb|Orff|1975–1983|loc=p. 66, Vol. IV}} (English translation from {{harvnb|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").</ref>{{efn|For two of the earliest known instances of this account appearing in print, see {{cite book|last=Liess|first=Andreas|year=1955|title=Carl Orff: Idee und Werk|language=de|location=Zürich|publisher=Atlantis Verlag|page=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." {{cite journal|last=Helm|first=Everett|date=July 1955|title=Carl Orff|journal=[[The Musical Quarterly]]|volume=XLI|number=3|pages=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.}} Michael H. Kater has called this statement into question, citing a lack of documentary evidence and the continuation of performances of Orff's previous works after the premiere of ''Carmina Burana'',{{sfn|Kater|2000|p=139}} although in fact most of these performances used revised versions.{{sfn|Kohler|2015|pp=115–116 and 130–32| |postscript=. 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.}}<ref>{{cite book |last=Austin |first=William |title=Music in the Twentieth Century: From Debussy through Stravinsky |date=1966 |isbn=0-393-09704-8 |publisher=W. W. Norton & Company |location=New York|page=388}}</ref> Orff eventually qualified his oft-repeated statement: "So I had said this thoughtlessly, con leggerezza [i.e. "lightly"]: a remark that, as I well knew, was true and also not true. I only wanted to accentuate with it the meaning that the ''Carmina Burana'' held in my creations up to that point, as was clear to me myself."{{sfn|Orff|1975–1983 |page=66, Vol. IV (English translation from Kohler 2015, p. 115)|postscript=. Original language: "Ich hatte das con leggerezza so hingesagt: ein Ausspruch, der, wie ich wohl wußte, stimmte und auch nicht stimmte. Ich wollte damit nur betonen, daß ich mir selbst klar war, welche Bedeutung die Carmina Burana in meinem bisherigen Schaffen einnahmen."}} When asked about the quotation in 1975, Orff replied: "For the first time I had done exactly what I wanted, and I also knew that I had treated it right. Really there is nothing more to say."<ref>{{cite news |last=Konz |first=Martin |title=Auf den Mond zu fliegen ist elementar. Rückbesinnung auf die Ursprünge: Interview mit dem Komponisten Carl Orff |date=April–May 1975 |work=[[Neue Musikzeitung]]|language=de}} 24. Jahrgang, Heft 2, p. 3 (English translation from Kohler 2015, p. 114). Original language: "Ich hatte erstmals genau das getan, was ich wollte, und ich wußte auch, daß ich richtig behandelt hatte. Mehr gibt es da eigentlich nicht zu sagen." See also Seifert 1970, p. 376 (for reprint, see {{harvnb|Henkel|Messmer|2021|pp=52–53}}).</ref> Orff went on to revise many of his earlier works, and later in his career he reissued some of his pre-''Carmina Burana'' compositions with minimal revisions. One of his final publications was a volume of songs he had composed between 1911 and 1920.<ref>[https://www.schott-music.com/de/fruehe-lieder-noc37379.html ''Frühe Lieder'' (Early Songs)] published by [[Schott Music]] (ED 7024); see List of Compositions for details.</ref>

===After World War II===
Most of Orff's later works – ''[[Antigonae]]'' (1949), ''{{ill|Oedipus der Tyrann|de}}'' (''Oedipus the Tyrant'', 1959), ''[[Prometheus (Orff)|Prometheus desmotes]]'' (''Prometheus Bound'', 1968), and {{Lang|la|[[De temporum fine comoedia]]}} (''Play on the End of Times'', 1973) – were based on texts or topics from antiquity. They extend the language of ''Carmina Burana'' in interesting ways, but they are expensive to stage and (on Orff's own characterization) are not operas in the conventional sense.<ref>{{harvnb|Seifert|1970|p=377}} For reprint, see {{harvnb|Henkel|Messmer|2021|p=54}}.</ref> Live performances of them have been few, even in Germany.{{sfn|Willnauer|1995|p=11}}

In a letter dated 8 January 1947 to his student [[Heinrich Sutermeister]], Orff called ''Die Bernauerin'' "the last piece in the series of my earlier work; ''Antigonae'' starts a new phase."{{sfn|Kohler|2015|p=318 |postscript=. Original language: "das letzte Stück in der Reihe meiner früheren Werke, ist der Antigone geht ein neuer Abschnitt an".}} ''Antigonae'' is a setting of Friedrich Hölderlin's translation of the [[Antigone (Sophocles play)|play]] by [[Sophocles]]. Orff first  became interested in this source material shortly after his trauma in World War I and began planning his work late in 1940.{{sfn|Rösch|2021a|p=26}} The premiere took place on 9 August 1949 at the [[Salzburg Festival]]. Orff followed ''Antigonae'' with ''Oedipus der Tyrann'', also using Hölderlin's translation of [[Oedipus Rex|Sophocles's play]], and ''Prometheus,'' using the original language of the [[Prometheus Bound|Greek play]] attributed to [[Aeschylus]]. Their premieres took place in Stuttgart, respectively in 1959 and 1968, conducted by [[Ferdinand Leitner]]. All three of the Greek tragedies make no cuts or alterations to the texts.{{sfn|Rösch|2003|p=17}}

The Greek tragedies are scored for highly unusual ensembles centered on large percussion ensembles, which include non-Western instruments and numerous mallet instruments (including [[lithophone]]), and several pianos (four in ''Prometheus'' and six in the other two); the traditional string section is dispensed with excepting nine contrabasses. They also have six flutes and six oboes (with various auxiliary doublings of piccolo, alto flute, and English horn), as well as trumpets (six in ''Antigonae'' and ''Prometheus''; eight in ''Oedipus der Tyrann'', behind the scene). ''Oedipus der Tyrann'' and ''Prometheus'' also have six trombones and organ. All three works also have four harps; there is additionally mandolin in ''Oedipus der Tyrann'' and four tenor banjos in ''Prometheus''.

Following the premiere of ''Prometheus'', [[Everett Helm]] wrote: {{Blockquote | <p>Orff does not make things easy for either singers or audience. But the retention of the original text undoubtedly evoked a mood such as could not have been created by a modern language.</p><p>"Prometheus" is not an opera in the usual sense. Like other works by Orff, it is music theater in which the music is part of, and subordinated to, the dramatic whole. The voices declaim almost constantly – either in spoken rhythm or in a kind of psalmodic recitative. Only occasionally (and most effectively) does the stark psalmody give way to melismas that recall the more florid passages of Gregorian chant. There is no semblance of arias or concerted numbers.</p><p>... Brief interludes in the orchestra have the character of interjections. There is no development, either musical or psychological. The huge blocks of sound produce a static, immobile form and atmosphere ... The makeup of the orchestra ... produces, hard, metallic sounds, mercilessly driven by primitive ostinato rhythms. The whole effect is elemental to a degree, but in no sense naive. Orff's stylized primitivism masks a high degree of sophistication.<ref>{{cite news |last=Helm |first=Everett |date=7 April 1968 |work=New York Times |title='Prometheus' Bound to Music |page=D17}}</ref></p>}}

Orff's final work for the stage, ''[[De temporum fine comoedia]]'' (''Play on the End of Times''), had its premiere at the [[Salzburg Festival]] on 20 August 1973, performed by [[Herbert von Karajan]] and the [[WDR Symphony Orchestra Cologne]] and Chorus. It has a large cast and similar scoring to the Greek tragedies with some exceptions, notably clarinetists (all with E-flat clarinets) instead of oboists and the addition of contrabassoon, horns, and tuba. Thomas Rösch has called this work "in many respects the summation of [Orff's] entire work."{{sfn|Rösch|2004|p=1401; original language: "in vielerlei Hinsicht die Summe des gesamten Schaffens"}} There is no evidence Orff considered writing another stage work after ''De temporum fine comoedia'', and in 1979 he told an interviewer he was certain it was the end (''Schluß'') of his composition.<ref>{{cite news |last=Lewinski |first=W.-E. v. |date=14 July 1979 |title='Ich wollte nie modern sein': Gespräch mit dem Komponisten Carl Orff |work=Allgemeine Zeitung}}</ref> In this highly personal work, Orff presented a [[mystery play]], sung in Greek, German, and Latin, in which he summarized his view of the end of time. His philosophy draws from many religious traditions, primarily [[Origen]]'s idea of [[apocatastasis]]. ''De temporum fine comoedia'' also makes numerous references to Orff's previous compositions, notably ''Die Bernauerin''.{{sfn|Rösch|2021b|pages=178–189}}{{sfn|Rösch|2015|pp=247–299}}{{sfn|Kohler|2015|pp=336–360}} Around the time of the premiere, he said that his works are "as with an onion: one layer follows the others." On the same occasion, he said of ''De temporum fine comoedia'': "It is all a dream, only a fantasy. Pessimistic, optimistic, as anyone wants."<ref>{{cite news |last=Esser |first=Doris |date=21 August 1973 |title=Das Lebenswerk ist wie eine Zwiebel |work=Salzburger Nachrichten}} 29. Jahrgang, Nummer 192, p. 5 (English translation from Kohler 2015, pp. 357–358). Original language: "wie bei einer Zwiebel, eine Schale folgt auf die andere." / "Es ist alles ein Traum, nur eine Phantasie. Pessimistisch, optimistisch, wie jeder will."</ref>

===Pedagogic works===
[[File:Ruhmeshalle Muenchen Carl Orff Komponist-1.jpg|thumb|upright|Bust of Carl Orff in the Munich [[Bavaria statue#The Hall of Fame|Hall of Fame]] (2009)]]
In [[pedagogy|pedagogical]] circles he is probably best remembered for his ''[[Orff Schulwerk|Schulwerk]]'' ("School Work"). Originally a set of pieces composed and published for the ''Güntherschule'' (which had students ranging from 12 to 22),<ref>Carl Orff Documentation trans. Margaret Murray, published by [[Schott Music]], 1978</ref> this title was also used for his books based on radio broadcasts in Bavaria in 1949. These pieces are collectively called ''Musik für Kinder'' (''Music for Children''), and also use the term ''Schulwerk'', and were written in collaboration with his former pupil, composer and educator [[Gunild Keetman]] (1904–1990), who actually wrote most of the settings and arrangements in the "Musik für Kinder" ("Music for Children") volumes.

Orff's ideas were developed, together with Gunild Keetman, into a very innovative approach to music education for children, known as the Orff Schulwerk. The music is elemental and combines movement, singing, playing, and improvisation.

''[[Gassenhauer]]'', ''Hexeneinmaleins'', and ''Passion'', which Orff composed with Keetman, were used as theme music for [[Terrence Malick]]'s film ''[[Badlands (film)|Badlands]]'' (1973).

===List of compositions===

Carl Orff's publisher is [[Schott Music]].<ref name="z676">{{cite web | title=Carl Orff | website=[[Schott Music]] | date=29 March 1982 | url=https://www.schott-music.com/en/person/carl-orff | access-date=14 August 2024}}</ref>

I. Concert and Stage Works{{efn| Excepting where otherwise noted, information for dates according to Orff-Zentrum München webpage, https://www.ozm.bayern.de/kuenstlerisches_werk/ (accessed 13 August 2022).}}

Stage works
* ''Gisei: Das Opfer'', Opus 20, libretto adapted by Orff from ''Terakoya'', a portion of ''[[Sugawara Denju Tenarai Kagami]]'' in translation by {{ill|Karl Florenz|de}} (1913, premiere 30 January 2010)
* Incidental music for [[Georg Büchner]]'s play ''[[Leonce und Lena]]'' (1918–19), unpublished and only partially extant{{sfn|Orff|1975–1983|pp=62, 141–145, 264–269, Vol. I}}  (manuscript in Orff-Zentrum München)
* Lamenti (first performed as cycle on 15 May 1958)
** ''Klage der Ariadne'', reshaping of the lament from [[Claudio Monteverdi]] and [[Ottavio Rinuccini]]'s ''[[L'Arianna]]'', German text by Orff (1925, premiere 16 April 1925; reworked 1940)
** ''Orpheus'', reshaping of Claudio Monteverdi and [[Alessandro Striggio]]'s ''[[L'Orfeo]]'', German text by Dorothee Günther (1922–1925, premiere 17 April 1925; reworked 1929 and 1940)
** ''Tanz der Spröden'', reshaping of Monteverdi and Rinuccini's ''[[Il ballo delle ingrate]]'', German text by Günther (1925, premiere 28 December 1925; reworked 1940)
* [[Trionfi (Orff)|Trionfi]]. Trittico teatrale (premiere 14 February 1953)
** ''[[Carmina Burana (Orff)|Carmina Burana]]. Cantiones profanae cantoribus et choris cantandae comitantibus instrumetis atque imaginibus magicis'', texts from ''[[Carmina Burana]]'' codex (1934–1936, premiere 8 June 1937)
** ''[[Catulli Carmina]]. Ludi scaenici'', texts by Orff (Praelusio and Exodium) and Catullus (Actus I–III), incorporating material from ''Catulli Carmina I'' choruses (1941–1943, premiere 6 November 1943)
** ''[[Trionfo di Afrodite]]. Concerto scenico'', texts by [[Sappho]], Catullus, and [[Euripides]] (1947–1951, premiere 14 February 1953)
* Märchenstücke (Fairy tales)
** ''[[Der Mond]]'', libretto by Orff after the [[Brothers Grimm]] (1936–1938, premiere 5 February 1939; reworked 1940, 1942, 1946, 1957, 1970)
** ''[[Die Kluge]]'', libretto by Orff after the Brothers Grimm (1941–1942, premiere 20 February 1943)
** ''Ein Sommernachtstraum'', incidental music to play by [[William Shakespeare]] in translation by [[August Wilhelm Schlegel]] (drafts 1917 and 1927–1928; completed version 1938–1939, premiere 14 October 1939; reworked 1943–44 (unperformed); reworked 1952, premiere 30 October 1952; reworked 1962, premiere of final version 12 March 1964)
* Bairisches Welttheater (Bavarian world theatre)
** ''[[Die Bernauerin]]'' (1944–1946, premiere 15 June 1947)
** ''{{ill|Astutuli|de}}'' (1946–1948, premiere 20 October 1953)
** ''Comoedia de Christi Resurrectione'' (1955, premiere 31 March 1956 on television; stage premiere 21 April 1957) – [[Easter Drama|Easter Play]]
** ''{{ill|Ludus de nato Infante mirificus|de}}'' (1960, premiere 11 December 1960) – [[Nativity play]]
* Theatrum Mundi
** ''[[Antigonae]]'', setting of Sophocles's play in translation by Friedrich Hölderlin (1940–1949, premiere 9 August 1949)
** ''{{ill|Oedipus der Tyrann|de}}'', setting of Sophocles's play in translation by Hölderlin (1951–58, premiere 11 December 1959)
** ''[[Prometheus (Orff)|Prometheus]]'', setting of play attributed to [[Aeschylus]] in original Greek (1960–67, premiere 24 March 1968)
** ''[[De temporum fine comoedia]]'' (1970–71, premiere 20 August 1973; reworked 1979 and 1981)

Vocal works
*Choral with instruments
** ''Zarathustra'', Opus 14 for baritone soloist, three tenor-bass choruses, ensemble, and organ on texts of Nietzsche (1911–1912), unpublished (manuscript at [[Bayerische Staatsbibliothek]] (Munich), Musiklesesaal, Orff.ms. 43 and Orff.ms. 44)
** ''Treibhauslieder,'' Traumspiel on texts of [[Maurice Maeterlinck]] (1913–14), drafted but score largely destroyed by composer{{sfn|Orff|1975–1983|pp=53–58, 127–139, 245, Vol. I}} (surviving sketches in Orff-Zentrum München)
** ''Des Turmes Auferstehung'' for tenor-bass chorus, orchestra, and organ on texts by [[Franz Werfel]] (1920–21, premiere 6 December 1995)
** Werkbuch I – cantatas on texts of Franz Werfel{{efn| In ''Veni Creator Spiritus'' and ''Der gute Mensch,'' all three movements are recompositions of earlier Lieder on the same texts from 1920. The second movement of ''Fremde sind wir'' uses the same poetry of one of the earlier Lieder; the music has similarity to the earlier work.}} 
*** I. ''Veni creator spiritus'' for chorus, pianos, and percussion (premiere 7 October 1930; revised 1968)
*** II. ''Der gute Mensch'' for chorus, pianos, and percussion (premiere 11 October 1930; revised 1968)
*** III. ''Fremde sind wir'' for chorus, violins, and contrabasses; reworked version for chorus and pianos (premiere 10 July 1935; reworked 1968)
** Werkbuch II – cantatas on texts of [[Bertolt Brecht]] for chorus, pianos, and percussion (1930–1931, reworked 1968–1973)
*** I. ''Von der Freundlichkeit der Welt'' (first published 1973, premiere 19 March 1979)
*** II. ''Vom Frühjahr, Öltank, und vom Fliegen'' (first published 1932, premiere 11 July 1965; revised 1968)
** ''Dithyrambi'' for mixed chorus and instruments on texts of [[Friedrich Schiller]] 
*** I. ''Die Sänger der Vorwelt'' (1955, premiere 3 August 1956; reworked 1981)
*** II. ''Nänie und Dithyrambe'' (1956, premiere 4 December 1956; reworked 1981)
** ''Rota'' for children's chorus, mixed chorus, and instruments on traditional old English text "[[Sumer is icumen in]]" (1972, premiere 26 August 1972 at opening ceremonies of the [[1972 Summer Olympics]])
** ''Sprechstücke'' for speaker, spoken chorus, and percussion on anonymous texts and texts by Bertolt Brecht (1976)
*Vocal a cappella
** "Der sinnende Storch", Op. 7 for SATB vocal quartet on text of Franz Josef Stritt (1911),{{sfn|Orff|1975–1983|p=241, Vol. I}} unpublished (manuscript at Bayerische Staatsbibliothek (Munich), Musiklesesaal, Orff.ms. 30)
** ''Ave Maria'' for mixed chorus (ca. 1912–1914, premiere 23 July 1982)
** ''Cantus-Firmus-Sätze I: Zwölf alte Melodien für Singstimmen oder Instrumente'' (1925–1932, first published in 1932; republished in 1954 without Nos. 6 and 7)
** ''Catulli Carmina I'', seven movements for mixed chorus on texts by Catullus (1930, published 1931;{{sfn|Orff|1975–1983|pp=9–26, Vol. 4 has a reprint of this publication, which is otherwise out of print}} six movements incorporated into ''Catulli Carmina: Ludi scaeni''; the other republished in 1979 as "Lugete o veneres")
** ''Catulli Carmina II'', three movements for mixed chorus on texts by Catullus (1931, published 1932),{{sfn|Orff|1975–1983|pp=28–37, Vol. 4 has a reprint of the original publication}} revised and republished as ''Concento di voci I: Sirmio, Tria Catulli Carmina'' (1954)
** ''Concento di voci II: Laudes creaturarum: Quas fecit Beatus Franciscus ad Laudem et Honorem Dei'' for eight-part mixed chorus on text of [[Francis of Assisi]] (1954, premiere 21 July 1957)
** ''Concento di voci III: Sunt lacrimae rerum. Cantiones seriae'' for tenor-bass chorus; texts of the three movements respectively by [[Orlando di Lasso]], from Ecclesiastes 3, and anonymous (1956, premiere 21 July 1957)
* Solo voice
** With Piano<ref>{{harvnb|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 {{harvnb|Kohler|2015|pp=3683–372}}.</ref>
** ''Note: A publication of Orff's songs from 1910 to 1920 is in preparation. Only a few of the following were published around the time of their composition; the publishing house was Ernst Germann & Co. (see below for Opp. 12, 13 No. 3, 15, 17, and 18 No. 1). In 1975, Orff selected some to be printed in ''Carl Orff und sein Werk: Dokumentation'', Vol. 1;{{sfn|Orff|1975–1983|pp=255–263, 275–327 |postscript=. The songs included are Opus 6 No. 2, Opus 8 No. 2, Opus 13 No. 1, and the songs composed from 1919 to 1920 (the 2 Lieder for High Voice in manuscript facsimile).}} in 1982, most of these were published in a score intended for performance.<ref>[https://www.schott-music.com/de/fruehe-lieder-noc37379.html ''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".</ref>
*** Early songs without opus number: "Altes Weihnachtslied (Es ist ein Ros entsprungen)"; "Winternacht", text by [[Joseph Eichendorff]]; "Der einsame Fichtenbaum", text by Heinrich Heine; "Die Lust vergeht, Die Lilie", text by Mathilde von Bayern; "Das weiß ich genau" (Volksweise); "Mein süßes Lieb"
*** ''Frühlingslieder'' for soprano or tenor, Opus 1 (1911), texts by Ludwig Uhland
*** 9 Lieder for soprano or tenor, Opus 2 (1910–11), texts by Mathilde von Bayern (Nos. 1 and 2), Gustav Renner (No. 3), [[Nikolaus Lenau]] (No. 4), {{ill|Adolf Friedrich Graf von Schack|de}} (No. 5), [[Julius Mosen]] (No. 6), Rudolf Baumbach (No. 7), [[Detlev von Liliencron]] (No. 8), Friedrich Hölderlin (No. 9)
*** 3 Lieder for Alto or Baritone, Opus 3 (1911), texts by August Kalkoff (No. 1), [[Theodor Storm]] (No. 2), Hermann Lingg (No. 3)
*** "Die Wallfahrt nach Kevlaar" for low voice, Opus 4 (1911), text by Heinrich Heine
*** "Zlatorog" for low voice, Opus 5 (1911), text by Rudolf Baumbach
*** 2 Lieder, Opus 6 (1911): No. 1 for baritone, text by Ludwig August Frankl; No. 2 for low voice, text by Richard Beer-Hofmann
*** 5 Lieder for soprano, Opus 8 (1910–11), texts by Theodor Storm (No. 1), Hermann Lingg (No. 2), Mathilde von Bayern (No. 3), [[Hermann Vogel (German illustrator)|Hermann Vogel]] (No. 4), Hans Mayr (No. 5)
*** 6 Lieder for tenor, Opus 9 (1911), texts by Börries von Münchhausen (No. 1), Heinrich Heine (Nos. 2, 3, 4, and 6), Semper (No. 5; text unidentified, possibly by Ernst Leberecht Semper{{sfn|Kohler|2015|page=370}})
*** 3 Lieder, Opus 10 (1911), texts by Heinrich Heine (No. 1), by [[Wilhelm Hertz]] (No. 2), and from [[Friedrich Fischbach]]'s edition of [[Edda]] (No. 3)
*** 3 Lieder, Opus 11 (1911), texts by [[Oskar von Redwitz]] (No. 1), from Friedrich Nietzsche's ''Also sprach Zarathustra'' (No. 2), and by [[Ernst Moritz Arndt]] (No. 3)
*** ''Eliland: Ein Sang von Chiemsee'', song cycle, Opus 12 (1911, published 1912), text by Karl Stieler 
*** 3 Lieder, Opus 13 (1911; No. 3 published in 1912 as Opus 13), texts by Heinrich Heine (Nos. 1 and 2) and {{ill|Max Haushofer Jr.|de}} (No. 3)
*** "Des Herzen Slüzzelin", Op. 15 (1912, published same year)
*** Lieder, Opus 17 (1912, published that same year), texts by [[Martin Greif (poet)|Martin Greif]] (No. 1) and from [[Paul Heyse]]'s translations of Tuscan folksongs (No. 2, comprising three individual songs)
*** 4 Lieder, Opus 18 (1912; No. 1 published that same year), texts by Börries von Münchhausen
*** 2 Lieder, Opus 19 (1912), texts by Walther von der Vogelweide
*** 2 Lieder for High Voice (1919): "Bitte", text by Nikolas Lenau; "Mein Herz ist wie ein See so weit", text by Friedrich Nietzsche
*** 3 Lieder for High Voice on texts by [[Klabund]] (1919): "Zwiegespräch", "Blond ist mein Haar", "Herr, ich liebte"
*** The First 5 Lieder und Gesänge on Texts by Franz Werfel (1920): "Als mich dein Wandeln", "Rache", "Ein Liebeslied", "Mondlied eines Mädchens", "Der gute Mensch" (of these, "Ein Liebeslied" and "Der gute Mensch" incorporated into Werkbuch I; see Choral Works)
*** The Second 5 Lieder und Gesänge on Texts by Franz Werfel (1920): "Lächeln, Atmen, Schreiten", "Litanei eines Kranken", "Nacht", "Fremde sind wir", "Veni creator spiritus" (all incorporated into Werkbuch I; see Choral Works)
** With Orchestra
*** Orchestral version of 4 Lieder, Opus 18 (1912),{{sfn|Orff|1975–1983|p=243, Vol. I (note, however, this source incorrectly states that Nos. 2–4 are no longer extant)}} unpublished (manuscript at Bayerische Staatsbibliothek, Orff.ms. 41 and 42); see under "Solo Voice – With Piano"
*** 3 Lieder for Tenor and Orchestra on texts of [[Richard Dehmel]] (1919),{{sfn|Orff|1975–1983|pp=62–63, 145–153, 245, 270, Vol. 1}} unpublished (manuscript at Bayerische Staatsbibliothek, Musiklesesaal, Orff.ms. 9 and Orff.ms.10)

Instrumental
*Orchestral
** ''Tanzende Faune: Ein Orchesterspiel'', Opus 21 (1914, premiere 6 December 1995)
** ''Entrata'' for large orchestra in five antiphonal groups, after "The Bells" by [[William Byrd]] (1539–1623) (1928, premiere 1930; reworked 1940, premiere 28 February 1941)
* Ensemble
** ''Kleines Konzert nach Lautensätzen aus dem 16. Jh.'', after lute works by [[Vincenzo Galilei]], [[Jean-Baptiste Besard]], and anonymous (1927, premiere 11 December 1928; reworked 1937 and 1975)
*Chamber
** Quartettsatz in B minor for string quartet, Opus 22 (ca. 1914, premiere 5 July 1989)
** Quartettsatz in C minor for string quartet (1921, premiere 18 October 2007)
** Präludium und Kanon for four viols and cembalo (ca. 1923), unpublished; Kanon later used at the end of ''De temporum fine comoedia''
*Solo Piano
** Tonbild nach Andersen, Opus 16 (1912),{{sfn|Orff|1975–1983|p=243, Vol. 1|postscript=. The literary source for this "Tonbild" is [[Hans Christian Andersen]]'s ''A Picture Book without Pictures,'' "Twenty-Seventh Evening."}} unpublished (manuscript at Bayerische Staatsbibliothek, Musiklesesaal, Orff.ms. 39)

II. Pedagogical Works

*[[Orff Schulwerk]]
** ''Musik für Kinder'' (with [[Gunild Keetman]]) (1930–35, reworked 1950–54)
** ''Tanzstück'' (1933)
** ''[[Gassenhauer]]''