Celesta (1925), Richard Strauss's "Ariadne auf Naxos" (1912), and "Die Frau ohne Schatten" (1918), while "an excellent example of its beauty when well employed", is the Silver Rose scene in his "Der Rosenkavalier" (1911), Ferruccio Busoni's "Arlecchino" (1917) and "Doktor Faust" (1925), Carl Orff's "Carmina Burana" (1936) and "Der Mond" (1939), Gian Carlo Menotti's "Amelia Goes to the Ball" (1937), Benjamin Britten's "The Turn of the Screw" (1954) and "A Midsummer Night's Dream" (1960), Conrad Susa's "Transformations" (1973), and Philip Glass' "Akhnaten" (1984). The keyboard glockenspiel part in Mozart's "The Magic Flute" is nowadays often played by a celesta. Since Earl
Carmina Burana (Orff) ZDF; Orff collaborated in its production. Orff's style demonstrates a desire for directness of speech and of access. "Carmina Burana" contains little or no development in the classical sense, and polyphony is also conspicuously absent. "Carmina Burana" avoids overt harmonic complexities, a fact which many musicians and critics have pointed out, such as Ann Powers of "The New York Times". Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi. It is a common misconception that Orff based the melodies of "Carmina Burana" on neumeatic melodies; while many of the lyrics in the