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This version, authorized by Orff himself, allowed smaller ensembles the opportunity to perform the piece.
The popularity of the work has ensured the creation of many additional arrangements for a variety of performing forces.
Orff's style demonstrates a desire for directness of speech and of access.
An additional arrangement for concert winds was prepared by composer John Krance and does not include chorus.
Alex Ross wrote that "the music itself commits no sins simply by being and remaining popular.
That Carmina Burana has appeared in hundreds of films and television commercials is proof that it contains no diabolical message, indeed that it contains no message whatsoever." The desire Orff expressed to his publisher has by and large been fulfilled: No other composition of his approaches its renown, as evidenced in both pop culture's appropriation of "O Fortuna" and the classical world's persistent programming and recording of the work.
Orff developed a dramatic concept he called "Theatrum Mundi" in which music, movement, and speech were inseparable.
Babcock writes that "Orff's artistic formula limited the music in that every musical moment was to be connected with an action on stage.