The music's more a descendant of German Romanticism than songs of the Goliards, where the texts originated.

Oi! fortune; you are so crazy it's maddening...

From the Wikipedia article:

The Nazi Era

Orff's relationship to German fascism and the Nazi Party has been a matter of considerable debate and analysis. His Carmina Burana was hugely popular in Nazi Germany after its premiere in Frankfurt in 1937, receiving numerous performances. But the composition with its unfamiliar rhythms was also denounced with racist taunts.[1] He was one of the few German composers under the Nazi regime who responded to the official call to write new incidental music for A Midsummer Night's Dream after the music of Felix Mendelssohn had been banned — others refused to cooperate in this.[2] Defenders of Orff note that he had already composed music for this play as early as 1917 and 1927, long before this was a favour for the Nazi government. Critics, however, note that writing music for the play in those years, when the Nazis were not in power, is not the same as writing such music in response to a request from the Nazi party, following the party's racist attacks on Mendelssohn because he was a Jew.

Carmina Burana made Orff's name in Nazi cultural circles. After some initial official discomfort about the work's frank sexual innuendos, Orff's cantata was elevated to the status of a signature piece in Nazi circles, where it was treated as an emblem of Third Reich "youth culture". The Nazi newspaper, the Völkischer Beobachter, once pointed to Orff's cantata as "the kind of clear, stormy, and yet always disciplined music that our time requires". Orff himself was never a paid-up Nazi but he prospered under National Socialist rule

Orff was a personal friend of Kurt Huber, one of the founders of the resistance movement Die Weiße Rose (the White Rose), who was condemned to death by the Volksgerichtshof and executed by the Nazis in 1943. Orff by happenstance called at Huber's house on the day after his arrest. Huber's distraught wife begged Orff to use his influence to help her husband, but Orff denied her request. If his friendship with Huber came out, he told her, he would be "ruined". Huber's wife never saw Orff again. Wracked by guilt, Orff would later write a letter to his late friend Huber, imploring him for forgiveness. [3][4]

So Orff, like many, was afraid at best during WWII.

That bit from Carmina Burana and Samuel Barber's Adagio for Strings (from a terrific string quartet!) are the musical gifts that keep on giving to those who like film soundtracks.