Interesting piece by Martin Kettle in Friday’s Guardian, but one very strange line: “The musical establishment may continue to agonise over the important question of whether a bad man can produce a great piece of work. . .” Are there really people who ask that question, or is it simply a rhetorical flourish? My sense has always been that Carmina Burana is loved by audiences but doesn’t get a lot of respect from the establishment, but that the reasons are musical rather than based on Orff’s politics. Would we think any more of Wagner’s music if he hadn’t been a raging antisemite? If we found out tomorrow that Beethoven was secretly an axe-murdering serial killer and that the “Immortal Beloved” was, say, Voldemort, would we think any less highly of the Grosse Fugue? I doubt it.