Editing Carl Orff (section)

===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>