Editing Carl Orff (section)

===''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.}}