Editing Carl Orff (section)

====Beginning of the Third Reich====
[[File:Carl Orff by Hans Holdt, 1940.jpg|thumb|Orff in 1940]]
Orff's relationship with German [[Nazism|National Socialism]] and the [[Nazi Party]] has been a matter of considerable debate and analysis,{{sfn|Willnauer|1995|pp=9–10}}{{sfn|Rockwell|2003}} sometimes colored by misinformation.<ref>{{cite news |last=Büning |first=Eleonore |date=7 July 1995 |title=Die Musik ist schuld |url=https://www.zeit.de/1995/28/Die_Musik_ist_schuld |work=[[Die Zeit]] |location=Hamburg |language=de |access-date=13 February 2019}} Büning inaccurately wrote that Orff joined the Nazi Party in 1940.</ref><ref>{{cite news |last=Heffer |first=Simon |date=9 April 2009 |title=TV review: O Fortuna! Carl Orff and Carmina Burana (Sky Arts 2) |work=[[The Daily Telegraph|The Telegraph]]|location=London|url=https://www.telegraph.co.uk/culture/tvandradio/5131428/TV-review-O-Fortuna-Carl-Orff-and-Carmina-Burana-Sky-Arts-2.html |access-date=21 November 2014}} Although this article makes no claim Orff was in the Party, it refers to him as a "Nazi composer" and "Nazi monster", despite reviewing a film in which [[Michael Hans Kater|Michael H. Kater]] emphatically stated that "Orff was never a Nazi" {{harv|Palmer|2008|loc=at 19:03}}.</ref><ref>{{cite news |last=Scearce |first=J. Mark |date=19–25 March 2004 |title=The Wheel of Fortune: Orff and His ''Gesamtkunsterwerk'' |work=The Portland Phoenix |url=http://www.portlandphoenix.com/music/other_stories/documents/03684458.asp |archive-url=https://web.archive.org/web/20040824041021/http://www.portlandphoenix.com/music/other_stories/documents/03684458.asp |archive-date=24 August 2004}} (Link from [[the Wayback Machine]].) The author wrote that ''Carmina Burana'' "became the backbeat to Hitler's rise to power", despite the fact that [[Adolf Hitler]] became chancellor of Germany on 30 January 1933 and the premiere of ''Carmina Burana'' did not take place until 8 June 1937.</ref><ref>{{cite book |last=Sharma |first=Bhesham R. |date=2000 |title=Music and Culture in the Age of Mechanical Reproduction |publisher=Peter Lang |location=New York |series=New Studies in Aesthetics, Vol. 31 |page=157}} The author wrote that "leaders of the Third Reich commissioned neoclassical composers to create a music that reflected healthy conservative values", including ''Carmina Burana'', and that Richard Strauss's ''[[Also sprach Zarathustra]]'' was "among the compositions written for the Nazis." These claims lack citation. ''Carmina Burana'' was not written on a commission of any kind, and ''Also sprach Zarathustra'' was composed in 1896 rather than in 1936, the year given by the author.</ref> Historian [[Michael Hans Kater|Michael H. Kater]], whose work is critical of Orff, nevertheless wrote that "Carl Orff's name to many has become synonymous with fascist art and culture, frequently by way of a rather cavalier prejudgment."{{sfn|Kater|2000|p=114}}

Orff never joined the Party, nor did he have any leadership position with the Third Reich.{{sfn|Prieberg|2009|pp=5377, 5394, 5396}} He was a member of the [[Reichsmusikkammer]], which was required of active musicians in the Third Reich.<ref>{{harvnb|Rathkolb|2021|page=146 n. 578}}. Regarding Orff's memberships or lack thereof in Nazi organizations, see also documents from a Nazi Party inquiry into Carl Orff in 1942 and Dr. Bertram Schaffner's official report of Orff's denazification (1 April 1946), printed in {{harvnb|Rathkolb|2021|pp=202, 205, 236}} and {{harvnb|Kohler|2015|pp=391–393, 422}}.</ref>

Several of Orff's friends and associates went into exile between 1933 and 1939, including Sachs and [[Leo Kestenberg]], the latter of whom was an advocate for his Schulwerk.{{sfn|Rathkolb|2021|pp=23–25}}<ref>{{cite journal |last=Rösch |first=Thomas |editor-last=Brusniak |editor-first=Friedhelm, Anna Christine Rhode-Jüchtern, and Theda Weber-Lucks |date=2019 |title=Leo Kestenberg und Carl Orff |journal=Würzburger Beiträge zur Kestenberg-Forschung. Festgabe für Andreas Eschen zum 65. Geburtstag |publisher=Margraf Publishers|location=Weikersheim |pages=41–70}}</ref> Orff reconnected with several of these exiled colleagues after the war and in some cases maintained lifelong friendships, as with singer and composer {{ill|Karel Salmon|de}}, who emigrated within the first few months of the Nazi takeover.{{sfn|Rathkolb|2021|pp=18–30}}{{sfn|Kohler|2015|pp=75–81}} Another such figure is the art historian Albin von Prybram-Gladona (1890–1974),{{sfn|Orff|1975–1983|pp=145 and 191, Vol. II}}{{sfn|Kohler|2015|p=90}} whose parents had converted from Judaism before his birth and who survived multiple incarcerations in concentration camps after he fled to France.<ref>{{cite news |last=Ebert |first=Anja |date=2017 |title=Erwerbungen aus der Sammlung Prybram. Ein schmaler Grat zwischen Kauf und Raub |work=Gekauft – Getauscht – Geraubt? Erwerbungen zwischen 1933 und 1945 |publisher=Verlag des Germanischen Nationalmuseums |pages=106–123, here 107–111 |url=https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/392}}</ref> Prybram-Gladona testified to Orff's character during the denazification process.{{sfn|Rathkolb|2021|p=136}} Another important friend to Orff was the German-Jewish musicologist and composer [[Erich Katz]] (1900–1973), who fled in 1939 after temporary incarceration in [[Dachau]]. Orff reestablished contact with Katz in 1952, and Katz considered Orff a valued friend.<ref>[https://web.archive.org/web/20100531190232/http://regis.edu/content/lib/pdf/EKContainerList.pdf List of items in Erich Katz Collection] Archive (PDF) [[Regis University]]. p.&nbsp;6. Retrieved 1 November 2011.</ref>{{sfn|Davenport|1995}} Orff wrote a tribute upon Katz's death in the form of a letter addressed to the deceased.{{sfn|Kohler|2015|pp=447–48|postscript=. This source reprints the letter with English translation; for the original publication (without translation), see Atwater, Betty Ransom. (November 1973). "Erich Katz: Teacher—Composer, 1900–1973". ''American Recorder'' '''XIV''' (4): 115–134, here 119.}}