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
Carl Orff as "O Fortuna", from "Carmina Burana", is often used to denote primal forces, for example in the Oliver Stone film "The Doors". 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". With the success of "Carmina Burana", Orff disowned all of his previous works except for "Catulli Carmina" and the "Entrata" (an orchestration of "The Bells" by William Byrd (1539–1623)), which were rewritten until acceptable by Orff. Later on, however, many of