Editing Carl Orff (section)

===Weimar Republic===
After recovering from his battle injuries, Orff held various positions at opera houses in [[Mannheim]] and [[Darmstadt]], later returning to Munich to pursue his music studies. Around 1920, Orff was drawn to the poetry of [[Franz Werfel]], which became the basis for numerous Lieder and choral compositions. In the mid-1920s, he began to formulate a concept he called {{Lang|de|elementare Musik}}, or elemental music, which was based on the unity of the arts symbolized by the ancient Greek [[Muses]], and involved tone, dance, poetry, image, design, and theatrical gesture. Like many other composers of the time, he was influenced by the Russian-French émigré [[Igor Stravinsky]]. But while others followed the cool, balanced neoclassic works of Stravinsky, it was works such as ''[[Les noces]]'' (''The Wedding''), an earthy, quasi-folkloric depiction of Russian peasant wedding rites, that appealed to Orff.<ref>{{cite book |last=Morgan |first=Robert |title=Twentieth-Century Music |date=1991 |publisher=W. W. Norton|location=New York |isbn=0-393-95272-X|page=258}} (note in this source that the description of ''[[Die Bernauerin]]'' on p. 259 in fact matches ''Astutuli''.)</ref><ref>{{cite book |last=Salzman |first=Eric |title=Twentieth-Century Music: An Introduction |edition=2nd |publisher=Prentice-Hall, Inc. |location=Englewood Cliffs, NJ |date= 1974|page=66 |isbn=0-13-935007-1}}</ref><ref>{{cite book |last=Collaer |first=Paul |translator-last=Abeles |translator-first=Sally |title=A History of Modern Music |edition=English translation of 2nd |date=1961 |publisher=Grosset & Dunlap's Universal Library |location=New York |page=336}}</ref>

Orff came to know the work of [[Bertolt Brecht]] in 1924, which had a profound influence on him.{{sfn|Orff|1975–1983|pages=68–69, Vol. 1}}{{sfn|Liess|1966|page=65 |postscript=. "Orff embraces wholly the cause of the contemporary Epic Theater, of which Bert Brecht is the greatest exponent."}}{{sfn|Hennenberg|2011|pages=11–71}}{{sfn|Kowalke|2000}} The same year, he and {{ill|Dorothee Günther|de}} founded the Günther-Schule for gymnastics, music, and dance in Munich. He developed his theories of music education, having constant contact with children and working with musical beginners. In 1930, Orff published a manual titled ''Schulwerk'', in which he shares his method of conducting. He  was involved with the Schulwerk and its associated institutions throughout his life, although he retired from the Günther-Schule in 1938.{{sfn|Rösch|2021a|p=22}}

Orff also began adapting musical works of earlier eras for contemporary theatrical presentation, including [[Claudio Monteverdi]] and [[Alessandro Striggio]]'s opera ''[[L'Orfeo]]'' (1607). Orff's shortened German version (with Günther's translation), ''Orpheus'', was staged under his direction in 1925 in Mannheim, using some of the instruments that had been used in the original 1607 performance, although several of these were unavailable and had to be replaced.{{sfn|Orff|1975–1983|pp=25–26, Vol. II}} Orff revised the score a few years later; this version was first performed in Munich in 1929. Orff's adaptations of early music brought him very little money. The passionately declaimed opera of Monteverdi's era was almost unknown in the 1920s, and Orff's production met with reactions ranging from incomprehension to ridicule. He told his mentor [[Curt Sachs]], who had led him to study Monteverdi and supported his ''Orpheus'',{{sfn|Orff|1975–1983|pp=14, 18, 27, Vol. II; pp. 14, 27, 96–97, 102–103, Vol. III}}{{sfn|Liess|1966|pp=17, 77–78}}<ref>{{cite book |last=Weinbuch |first=Isabel |date=2010 |title=Das musikalische Denken und Schaffen Carl Orffs: Ethnologische und interkulturelle Perspektiven |publisher=Schott |location=Mainz |pages=58–60}}</ref> that the Munich press was against him: "I am made out to be not only a violator of corpses (see Monteverdi), but also a youth-seducer, who systematically corrupts our good youth with exotic perversities."{{sfn|Rösch|2009|p=45 (English translation from Kohler 2015, p. 65)|postscript=. Original language: "Ich werde nicht nur als Leichenschänder (siehe Monteverdi), sondern auch als Jugendverführer hingestellt, der unsere gute Jugend mit exotischen Perversitäten systematisch verdirbt."}}