- published: 28 Apr 2011
- views: 110994
Mauricio Kagel
Mauricio Kagel (Spanish pronunciation: [mauˈɾisjo ˈkaɣel]; December 24, 1931 – September 18, 2008) was a German-Argentine composer. He was notable for his interest in developing the theatrical side of musical performance (Grimshaw 2009).
Biography
Kagel was born in Buenos Aires, Argentina, into a Jewish family which fled from Russia in the 1920s (Anon. n.d.). He studied music, history of literature, and philosophy in Buenos Aires (Grimshaw 2009). In 1957 he came as a scholar to Cologne, Germany, where he lived until his death.
From 1960–66 and 1972–76, he taught at the International Summer School at Darmstadt (Attinello 2001).
He taught at the State University of New York at Buffalo from 1964 to 1965 as Slee Professor of music theory and at the Berlin Film and Television Academy as a visiting lecturer. He served as director of courses for new music in Gothenburg and Cologne (Attinello 2001). He was professor for new music theatre at the Cologne Conservatory from 1974 to 1997.
Invited by Walter Fink, he was the second composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 1991. In 2000 he received the Ernst von Siemens Music Prize.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Mauricio_Kagel
Podcasts:
Mauricio Kagel
ALBUMS
- Chorbuch/Les Inventions d'Adolphe Sax released: 2012
- Duodramen / Szenario / Liturgien (Saarbrücken Radio Symphony Orchestra, Gulbenkian Foundation Chorus Lisbon feat. conductor: Mauricio Kagel) released: 2006
- Tantz-Schul released: 2004
- Transición II / Phonophonie released: 2003
- Orchestral Works (Rundfunk-Sinfonieorchester Saarbrücken feat. conductor: Mauricio Kagel) released: 2000
- 1898: Music for Renaissance instruments released: 1999
- Mauricio Kagel: 5 Stücke der Windrose released: 1994
- String Quartet I [1965-67] Pan [1985] For Piccolo & String Quartet, String Quartets II, III released: 1991
- Acustica released: 1972
- Heterophonie-Improvisation ajoutée released:
Duodramen / Szenario / Liturgien (Saarbrücken Radio Symphony Orchestra, Gulbenkian Foundation Chorus Lisbon feat. conductor: Mauricio Kagel)
Released 2006- Szenario, for strings & tape
- Duodramen, for voices & orchestra: I. Allegro
- Duodramen, for voices & orchestra: II. Grave
- Duodramen, for voices & orchestra: III. Andantino
- Duodramen, for voices & orchestra: IV. Molto tranquillo
- Duodramen, for voices & orchestra: V. Andantino
- Duodramen, for voices & orchestra: VI. Allegretto
- Liturgien, for soloists, double chorus & orchestra
Orchestral Works (Rundfunk-Sinfonieorchester Saarbrücken feat. conductor: Mauricio Kagel)
Released 2000String Quartet I [1965-67] Pan [1985] For Piccolo & String Quartet, String Quartets II, III
Released 1991Born: 1931-12-24
Died: 2008-09-18
-
Mauricio Kagel: Two-Man Orchestra
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tinguely, Basel, April 23, 2011 (Excerpt). Performed by Wilhelm Bruck and Matthias Würsch. More info: http://www.zweimannorchester.net/zweimannorchester/home.html http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/ German-Argentine composer Mauricio Kagel's Zwei-Mann-Orchester (Two-Man Orchestra) for two one-man orchestras is considered as one of the strangest pieces of contemporary music every composed. The sound is created by using more than 200 broken, battered and discarded instruments and dysfunctional sound-generators. After its premiere in 1973, it is now produced for the third time and performed in the Museum Tinguely in Basel by Wilh...
published: 28 Apr 2011 -
"Ludvig van" (1970) Mauricio Kagel
published: 02 May 2009 -
METAPIECE (MIMETICS) - Mauricio Kagel
Marlies Debacker - piano METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
published: 27 Feb 2017 -
Mauricio Kagel - Musik für Renaissance-Instrumente (1965-66)
Musik für Renaissance Instrumente (1965-66) Composer: Mauricio Raúl Kagel (1931 - 2008) Performers: Collegium Instrumentale, dir. Mauricio Kagel ________________________________________________________________ "This work contains neither prediction, pointers to the future, nor a comforting return to the past: the use of Renaissance instruments here has no programmatic purpose in any general sense. The only decisive fact is that these instruments correspond to my tonal concept better than any present-day stringed and wind instruments could. The systematic alienation of conventional instrumental sound, which comes into its own in the material and methods of the most modem music, seemed to me to justify an attempt, for once, to reverse the normally accepted view on the subject of the compos...
published: 01 Nov 2020 -
Mauricio Kagel – Match (1964)
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion) Performed live as part of Sounds Absurd, Nov 30 2010, Carriageworks, Sydney
published: 16 May 2011 -
Mauricio Kagel. Variété (1977)
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine); AVA Dance Company (Germany/Spain); Eva Zöllner (accordeon, Germany) The 5th Qara Qarayev International Contemporary Music Festival. Performance. "Night Cabaret", 18.04.2013 Azerbaijan State Theatre of Young Spectators. Baku, Azerbaijan
published: 16 Dec 2014 -
Mauricio Kagel - Repertoire aus Staatstheater
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kagel "Repertoire" aus "Staatstheater" Szenische Komposition von 1967/70.
published: 17 Aug 2012 -
Ludwig Van (Full Version) (1969) - Mauricio Kagel
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Joseph Beuys, Dieter Roth, Robert Filliou and many, many permutations of the titular star.
published: 20 Feb 2022 -
Peça de Concerto para tímpanos e orquestra de Mauricio Kagel
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23 Sylvain Cambreling - direcção musical Jean-François Lézé - tímpanos A inspiração no passado é também um elemento importante na música de Mauricio Kagel. Nascido na Argentina, fixou-se na Alemanha no final da década de 50, onde interagiu com as correntes estéticas de vanguarda. Um dos aspectos mais marcantes da sua obra é o alargamento do papel do músico. Assim, Kagel integrou uma dimensão teatral na prática instrumental, o que se encontra bem patente na Peça de Concerto para tímpanos e orquestra. Escrita entre 1990 e 1992, é baseada na sua obra Opus 1.991, para orquestra. Kagel transformou-a, acrescentando-lhe um instrumento solista sui generis, os tímpanos. A escrita para percussão solista afirmou-se com...
published: 13 Dec 2018 -
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel
Organ: Domink Susteck I. Raga II. Rauschpfeifen III. Repercussa IV. Ragtime-waltz V. Rondeña VI. Ripieno VII. Rosalie VIII. Rossignols Enrhumés
published: 07 Dec 2022
developed with YouTube
4:24
Mauricio Kagel: Two-Man Orchestra
- Order: Reorder
- Duration: 4:24
- Uploaded Date: 28 Apr 2011
- views: 110994
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tinguely, Basel, April 23, 2011 (Excerpt). Performed by Wilhelm Bruck and Ma...
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tinguely, Basel, April 23, 2011 (Excerpt). Performed by Wilhelm Bruck and Matthias Würsch.
More info: http://www.zweimannorchester.net/zweimannorchester/home.html
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/
German-Argentine composer Mauricio Kagel's Zwei-Mann-Orchester (Two-Man Orchestra) for two one-man orchestras is considered as one of the strangest pieces of contemporary music every composed. The sound is created by using more than 200 broken, battered and discarded instruments and dysfunctional sound-generators. After its premiere in 1973, it is now produced for the third time and performed in the Museum Tinguely in Basel by Wilhelm Bruck and Matthias Würsch. This video documents the presentation on April 23, 2011. Photo set and full-length video (for VernissageTV Members):
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/#more-11569
Mauricio Kagel's Zwei-Mann-Orchester premièred at the Donaueschingen Festival in 1973. Kagel and his musicians, Wilhelm Bruck and Theodor Ross, surprised their audience with large apparatus composed of more than 200 "instruments". They were played with the aid of strings, rods, levers and other movable elements. "The traditional instrumental body of the renowned festival that had commissioned the work -- the orchestra -- was reflected in a caricature raised to the level of sound-art" (excerpt from the press release).
In 1992, the Zwei-Mann-Orchester was presented in a second version at the Kassel Documenta IX. Now, almost twenty years later, it is produced for the third time in Basel as part of a joint project involving the Paul Sacher Foundation, the Hochschule für Musik Basel, and the Museum Tinguely. Wilhelm Bruck has played Mauricio Kagel's music since the 1960s and is now building and playing the new orchestral machine for the third time. This time, he his accompanied by Matthias Würsch, a professor of percussion at the Basel Academy of Music and a multi-instrumentalist of international stature.
Mauricio Kagel: Zwei-Mann-Orchester (Two-Man Orchestra) at Museum Tinguely, Basel. Performed by Wilhelm Bruck and Matthias Würsch, April 23, 2011.
https://wn.com/Mauricio_Kagel_Two_Man_Orchestra
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tinguely, Basel, April 23, 2011 (Excerpt). Performed by Wilhelm Bruck and Matthias Würsch.
More info: http://www.zweimannorchester.net/zweimannorchester/home.html
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/
German-Argentine composer Mauricio Kagel's Zwei-Mann-Orchester (Two-Man Orchestra) for two one-man orchestras is considered as one of the strangest pieces of contemporary music every composed. The sound is created by using more than 200 broken, battered and discarded instruments and dysfunctional sound-generators. After its premiere in 1973, it is now produced for the third time and performed in the Museum Tinguely in Basel by Wilhelm Bruck and Matthias Würsch. This video documents the presentation on April 23, 2011. Photo set and full-length video (for VernissageTV Members):
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/#more-11569
Mauricio Kagel's Zwei-Mann-Orchester premièred at the Donaueschingen Festival in 1973. Kagel and his musicians, Wilhelm Bruck and Theodor Ross, surprised their audience with large apparatus composed of more than 200 "instruments". They were played with the aid of strings, rods, levers and other movable elements. "The traditional instrumental body of the renowned festival that had commissioned the work -- the orchestra -- was reflected in a caricature raised to the level of sound-art" (excerpt from the press release).
In 1992, the Zwei-Mann-Orchester was presented in a second version at the Kassel Documenta IX. Now, almost twenty years later, it is produced for the third time in Basel as part of a joint project involving the Paul Sacher Foundation, the Hochschule für Musik Basel, and the Museum Tinguely. Wilhelm Bruck has played Mauricio Kagel's music since the 1960s and is now building and playing the new orchestral machine for the third time. This time, he his accompanied by Matthias Würsch, a professor of percussion at the Basel Academy of Music and a multi-instrumentalist of international stature.
Mauricio Kagel: Zwei-Mann-Orchester (Two-Man Orchestra) at Museum Tinguely, Basel. Performed by Wilhelm Bruck and Matthias Würsch, April 23, 2011.
7:40
"Ludvig van" (1970) Mauricio Kagel
- Order: Reorder
- Duration: 7:40
- Uploaded Date: 02 May 2009
- views: 114189
- published: 02 May 2009
- views: 114189
13:29
METAPIECE (MIMETICS) - Mauricio Kagel
- Order: Reorder
- Duration: 13:29
- Uploaded Date: 27 Feb 2017
- views: 1462
Marlies Debacker - piano
METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
Marlies Debacker - piano
METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
https://wn.com/Metapiece_(Mimetics)_Mauricio_Kagel
Marlies Debacker - piano
METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
- published: 27 Feb 2017
- views: 1462
25:14
Mauricio Kagel - Musik für Renaissance-Instrumente (1965-66)
- Order: Reorder
- Duration: 25:14
- Uploaded Date: 01 Nov 2020
- views: 8466
Musik für Renaissance Instrumente (1965-66)
Composer: Mauricio Raúl Kagel (1931 - 2008)
Performers: Collegium Instrumentale, dir. Mauricio Kagel
_______________...
Musik für Renaissance Instrumente (1965-66)
Composer: Mauricio Raúl Kagel (1931 - 2008)
Performers: Collegium Instrumentale, dir. Mauricio Kagel
________________________________________________________________
"This work contains neither prediction, pointers to the future, nor a comforting return to the past: the use of Renaissance instruments here has no programmatic purpose in any general sense. The only decisive fact is that these instruments correspond to my tonal concept better than any present-day stringed and wind instruments could.
The systematic alienation of conventional instrumental sound, which comes into its own in the material and methods of the most modem music, seemed to me to justify an attempt, for once, to reverse the normally accepted view on the subject of the composition of tone colour. The individual quality of restraint which belongs to the nature of these Renaissance instruments made it all the easier for me to introduce each of them in its own unadulterated tonal character. While still a student of musicology in Argentina I began to sketch a similar piece, but I dropped the project at that time, since one of the essential conditions for bringing the idea to fruition-the formation of a truly orchestral ensemble of early instruments-could not then be fulfilled. In the renaissance of the Renaissance which we are now experiencing such an ensemble has become feasible, because copies of most of the instruments have recently been made, and numerous musicians have become proficient in playing them.
Only the formation of complete families of typical instruments, played by 23 musicians, could produce a sound picture true to the period in question. (All the Renaissance instruments required for my composition were represented in the Theatrum Instrumentorum of the "Syntagma Musicum" by Michael Praetorius (1619). During recent years I have become so familiar with each of the instruments used that I could think out its tonal function afresh, and have been able to develop the performing techniques beyond the conventional limits. Even an instrument such as the recorder, which is closely associated with home and school music making of a very different kind, proved to be extremely versatile, and more suitable for use in new instrumental music than, for example, the transverse flute.
Each instrumental part of this work was composed like a solo line. However, the parts were put together as a full score, written in more or less normal notation. Other versions of the work are also possible, using any number of players from two to twenty-two, in every combination of instruments drawn from the original scoring. These reduced versions are entitled "Chamber Music for Renaissance Instruments". The concept of an ad hoc orchestra made up of whatever instruments are available--in accordance with the performing practice of the Renaissance period--is here taken literally, so that a degree of variation is possible which cannot be foreseen by the composer. This work (1965/66) was written in memoriam Claudio Monteverdi. Nevertheless it contains no collages of old music."
~Mauricio Kagel
Source: LP notes
___________________________________________________________________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
https://wn.com/Mauricio_Kagel_Musik_Für_Renaissance_Instrumente_(1965_66)
Musik für Renaissance Instrumente (1965-66)
Composer: Mauricio Raúl Kagel (1931 - 2008)
Performers: Collegium Instrumentale, dir. Mauricio Kagel
________________________________________________________________
"This work contains neither prediction, pointers to the future, nor a comforting return to the past: the use of Renaissance instruments here has no programmatic purpose in any general sense. The only decisive fact is that these instruments correspond to my tonal concept better than any present-day stringed and wind instruments could.
The systematic alienation of conventional instrumental sound, which comes into its own in the material and methods of the most modem music, seemed to me to justify an attempt, for once, to reverse the normally accepted view on the subject of the composition of tone colour. The individual quality of restraint which belongs to the nature of these Renaissance instruments made it all the easier for me to introduce each of them in its own unadulterated tonal character. While still a student of musicology in Argentina I began to sketch a similar piece, but I dropped the project at that time, since one of the essential conditions for bringing the idea to fruition-the formation of a truly orchestral ensemble of early instruments-could not then be fulfilled. In the renaissance of the Renaissance which we are now experiencing such an ensemble has become feasible, because copies of most of the instruments have recently been made, and numerous musicians have become proficient in playing them.
Only the formation of complete families of typical instruments, played by 23 musicians, could produce a sound picture true to the period in question. (All the Renaissance instruments required for my composition were represented in the Theatrum Instrumentorum of the "Syntagma Musicum" by Michael Praetorius (1619). During recent years I have become so familiar with each of the instruments used that I could think out its tonal function afresh, and have been able to develop the performing techniques beyond the conventional limits. Even an instrument such as the recorder, which is closely associated with home and school music making of a very different kind, proved to be extremely versatile, and more suitable for use in new instrumental music than, for example, the transverse flute.
Each instrumental part of this work was composed like a solo line. However, the parts were put together as a full score, written in more or less normal notation. Other versions of the work are also possible, using any number of players from two to twenty-two, in every combination of instruments drawn from the original scoring. These reduced versions are entitled "Chamber Music for Renaissance Instruments". The concept of an ad hoc orchestra made up of whatever instruments are available--in accordance with the performing practice of the Renaissance period--is here taken literally, so that a degree of variation is possible which cannot be foreseen by the composer. This work (1965/66) was written in memoriam Claudio Monteverdi. Nevertheless it contains no collages of old music."
~Mauricio Kagel
Source: LP notes
___________________________________________________________________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
- published: 01 Nov 2020
- views: 8466
17:53
Mauricio Kagel – Match (1964)
- Order: Reorder
- Duration: 17:53
- Uploaded Date: 16 May 2011
- views: 38431
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion)
Performed live as part of Sounds Absurd, Nov 30 2010, Carriageworks, Sy...
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion)
Performed live as part of Sounds Absurd, Nov 30 2010, Carriageworks, Sydney
https://wn.com/Mauricio_Kagel_–_Match_(1964)
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion)
Performed live as part of Sounds Absurd, Nov 30 2010, Carriageworks, Sydney
- published: 16 May 2011
- views: 38431
44:29
Mauricio Kagel. Variété (1977)
- Order: Reorder
- Duration: 44:29
- Uploaded Date: 16 Dec 2014
- views: 9965
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine);
AVA Dance Company (Germany/Spain);
Eva Zöllner (accordeon, Germany)
The 5th Qara Qarayev...
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine);
AVA Dance Company (Germany/Spain);
Eva Zöllner (accordeon, Germany)
The 5th Qara Qarayev International Contemporary Music Festival.
Performance. "Night Cabaret", 18.04.2013
Azerbaijan State Theatre of Young Spectators. Baku, Azerbaijan
https://wn.com/Mauricio_Kagel._Variété_(1977)
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine);
AVA Dance Company (Germany/Spain);
Eva Zöllner (accordeon, Germany)
The 5th Qara Qarayev International Contemporary Music Festival.
Performance. "Night Cabaret", 18.04.2013
Azerbaijan State Theatre of Young Spectators. Baku, Azerbaijan
- published: 16 Dec 2014
- views: 9965
56:23
Mauricio Kagel - Repertoire aus Staatstheater
- Order: Reorder
- Duration: 56:23
- Uploaded Date: 17 Aug 2012
- views: 52836
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kagel "Repertoire" aus "Staatstheater" Szenische Komposition von 1967/70....
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kagel "Repertoire" aus "Staatstheater" Szenische Komposition von 1967/70.
https://wn.com/Mauricio_Kagel_Repertoire_Aus_Staatstheater
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kagel "Repertoire" aus "Staatstheater" Szenische Komposition von 1967/70.
- published: 17 Aug 2012
- views: 52836
1:30:44
Ludwig Van (Full Version) (1969) - Mauricio Kagel
- Order: Reorder
- Duration: 1:30:44
- Uploaded Date: 20 Feb 2022
- views: 4243
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Josep...
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Joseph Beuys, Dieter Roth, Robert Filliou and many, many permutations of the titular star.
https://wn.com/Ludwig_Van_(Full_Version)_(1969)_Mauricio_Kagel
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Joseph Beuys, Dieter Roth, Robert Filliou and many, many permutations of the titular star.
- published: 20 Feb 2022
- views: 4243
22:40
Peça de Concerto para tímpanos e orquestra de Mauricio Kagel
- Order: Reorder
- Duration: 22:40
- Uploaded Date: 13 Dec 2018
- views: 167003
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23
Sylvain Cambreling - direcção musical
Jean-François Lézé - tímpanos
A insp...
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23
Sylvain Cambreling - direcção musical
Jean-François Lézé - tímpanos
A inspiração no passado é também um elemento importante na música de Mauricio Kagel. Nascido na Argentina, fixou-se na Alemanha no final da década de 50, onde interagiu com as correntes estéticas de vanguarda. Um dos aspectos mais marcantes da sua obra é o alargamento do papel do músico. Assim, Kagel integrou uma dimensão teatral na prática instrumental, o que se encontra bem patente na Peça de Concerto para tímpanos e orquestra. Escrita entre 1990 e 1992, é baseada na sua obra Opus 1.991, para orquestra. Kagel transformou-a, acrescentando-lhe um instrumento solista sui generis, os tímpanos. A escrita para percussão solista afirmou-se como uma prática contemporânea, mas dedicar uma obra orquestral aos tímpanos ainda é um fenómeno raro. Assim, Kagel subverte a ideia do solista associada ao virtuoso romântico, apresentando uma obra pouco convencional para um instrumento que raramente desempenha essas funções. A peça resultou de uma encomenda da Orquestra Sinfónica “Arturo Toscanini” da Emília-Romanha, que a estreou em Reggio Emilia a 17 de Outubro de 1992, com Jean-Pierre Drouet como solista e Fabrice Bollon como chefe de orquestra.
A obra tem uma abordagem humorística não só aos géneros para solista e orquestra, mas também à especificidade do instrumento. Com uma linguagem predominantemente diatónica, oscilando entre uma escrita convencional e uma abordagem mais livre, as atenções centram-se no virtuosismo do timpaneiro. Tendo em conta as suas características teatrais, é uma peça cuja eficácia assenta na visualidade da performance. Assim, à medida que a actividade do solista se torna gradualmente menos convencional, entramos numa espiral humorística em crescendo. A seriedade da sala de concertos, um templo para o público do século XIX, é subvertida pelo compositor, que mistura técnicas das vanguardas musicais contemporâneas com estratégias comunicativas próximas dos Irmãos Marx.
João Silva, 2017
https://wn.com/Peça_De_Concerto_Para_Tímpanos_E_Orquestra_De_Mauricio_Kagel
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23
Sylvain Cambreling - direcção musical
Jean-François Lézé - tímpanos
A inspiração no passado é também um elemento importante na música de Mauricio Kagel. Nascido na Argentina, fixou-se na Alemanha no final da década de 50, onde interagiu com as correntes estéticas de vanguarda. Um dos aspectos mais marcantes da sua obra é o alargamento do papel do músico. Assim, Kagel integrou uma dimensão teatral na prática instrumental, o que se encontra bem patente na Peça de Concerto para tímpanos e orquestra. Escrita entre 1990 e 1992, é baseada na sua obra Opus 1.991, para orquestra. Kagel transformou-a, acrescentando-lhe um instrumento solista sui generis, os tímpanos. A escrita para percussão solista afirmou-se como uma prática contemporânea, mas dedicar uma obra orquestral aos tímpanos ainda é um fenómeno raro. Assim, Kagel subverte a ideia do solista associada ao virtuoso romântico, apresentando uma obra pouco convencional para um instrumento que raramente desempenha essas funções. A peça resultou de uma encomenda da Orquestra Sinfónica “Arturo Toscanini” da Emília-Romanha, que a estreou em Reggio Emilia a 17 de Outubro de 1992, com Jean-Pierre Drouet como solista e Fabrice Bollon como chefe de orquestra.
A obra tem uma abordagem humorística não só aos géneros para solista e orquestra, mas também à especificidade do instrumento. Com uma linguagem predominantemente diatónica, oscilando entre uma escrita convencional e uma abordagem mais livre, as atenções centram-se no virtuosismo do timpaneiro. Tendo em conta as suas características teatrais, é uma peça cuja eficácia assenta na visualidade da performance. Assim, à medida que a actividade do solista se torna gradualmente menos convencional, entramos numa espiral humorística em crescendo. A seriedade da sala de concertos, um templo para o público do século XIX, é subvertida pelo compositor, que mistura técnicas das vanguardas musicais contemporâneas com estratégias comunicativas próximas dos Irmãos Marx.
João Silva, 2017
- published: 13 Dec 2018
- views: 167003
19:29
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel
- Order: Reorder
- Duration: 19:29
- Uploaded Date: 07 Dec 2022
- views: 2528
Organ: Domink Susteck
I. Raga
II. Rauschpfeifen
III. Repercussa
IV. Ragtime-waltz
V. Rondeña
VI. Ripieno
VII. Rosalie
VIII. Rossignols Enrhumés
Organ: Domink Susteck
I. Raga
II. Rauschpfeifen
III. Repercussa
IV. Ragtime-waltz
V. Rondeña
VI. Ripieno
VII. Rosalie
VIII. Rossignols Enrhumés
https://wn.com/Rrrrrrr..._8_Orgelstücke_Mauricio_Kagel
Organ: Domink Susteck
I. Raga
II. Rauschpfeifen
III. Repercussa
IV. Ragtime-waltz
V. Rondeña
VI. Ripieno
VII. Rosalie
VIII. Rossignols Enrhumés
- published: 07 Dec 2022
- views: 2528
4:24
Mauricio Kagel: Two-Man Orchestra
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tingue...
published: 28 Apr 2011
Mauricio Kagel: Two-Man Orchestra
Mauricio Kagel: Two-Man Orchestra
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- published: 28 Apr 2011
- views: 110994
http://www.vernissage.tv | Mauricio Kagel: Two-Man Orchestra. Performance at Museum Tinguely, Basel, April 23, 2011 (Excerpt). Performed by Wilhelm Bruck and Matthias Würsch.
More info: http://www.zweimannorchester.net/zweimannorchester/home.html
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/
German-Argentine composer Mauricio Kagel's Zwei-Mann-Orchester (Two-Man Orchestra) for two one-man orchestras is considered as one of the strangest pieces of contemporary music every composed. The sound is created by using more than 200 broken, battered and discarded instruments and dysfunctional sound-generators. After its premiere in 1973, it is now produced for the third time and performed in the Museum Tinguely in Basel by Wilhelm Bruck and Matthias Würsch. This video documents the presentation on April 23, 2011. Photo set and full-length video (for VernissageTV Members):
http://vernissage.tv/blog/2011/04/29/mauricio-kagel-zwei-mann-orchester-two-man-orchestra-at-museum-tinguely-basel/#more-11569
Mauricio Kagel's Zwei-Mann-Orchester premièred at the Donaueschingen Festival in 1973. Kagel and his musicians, Wilhelm Bruck and Theodor Ross, surprised their audience with large apparatus composed of more than 200 "instruments". They were played with the aid of strings, rods, levers and other movable elements. "The traditional instrumental body of the renowned festival that had commissioned the work -- the orchestra -- was reflected in a caricature raised to the level of sound-art" (excerpt from the press release).
In 1992, the Zwei-Mann-Orchester was presented in a second version at the Kassel Documenta IX. Now, almost twenty years later, it is produced for the third time in Basel as part of a joint project involving the Paul Sacher Foundation, the Hochschule für Musik Basel, and the Museum Tinguely. Wilhelm Bruck has played Mauricio Kagel's music since the 1960s and is now building and playing the new orchestral machine for the third time. This time, he his accompanied by Matthias Würsch, a professor of percussion at the Basel Academy of Music and a multi-instrumentalist of international stature.
Mauricio Kagel: Zwei-Mann-Orchester (Two-Man Orchestra) at Museum Tinguely, Basel. Performed by Wilhelm Bruck and Matthias Würsch, April 23, 2011.
7:40
"Ludvig van" (1970) Mauricio Kagel
published: 02 May 2009
"Ludvig van" (1970) Mauricio Kagel
"Ludvig van" (1970) Mauricio Kagel
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- published: 02 May 2009
- views: 114189
13:29
METAPIECE (MIMETICS) - Mauricio Kagel
Marlies Debacker - piano
METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
published: 27 Feb 2017
METAPIECE (MIMETICS) - Mauricio Kagel
METAPIECE (MIMETICS) - Mauricio Kagel
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- published: 27 Feb 2017
- views: 1462
Marlies Debacker - piano
METAPIECE (MIMETICS) für Klavier (1961) - Mauricio Kagel
25:14
Mauricio Kagel - Musik für Renaissance-Instrumente (1965-66)
Musik für Renaissance Instrumente (1965-66)
Composer: Mauricio Raúl Kagel (1931 - 2008)
Pe...
published: 01 Nov 2020
Mauricio Kagel - Musik für Renaissance-Instrumente (1965-66)
Mauricio Kagel - Musik für Renaissance-Instrumente (1965-66)
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- published: 01 Nov 2020
- views: 8466
Musik für Renaissance Instrumente (1965-66)
Composer: Mauricio Raúl Kagel (1931 - 2008)
Performers: Collegium Instrumentale, dir. Mauricio Kagel
________________________________________________________________
"This work contains neither prediction, pointers to the future, nor a comforting return to the past: the use of Renaissance instruments here has no programmatic purpose in any general sense. The only decisive fact is that these instruments correspond to my tonal concept better than any present-day stringed and wind instruments could.
The systematic alienation of conventional instrumental sound, which comes into its own in the material and methods of the most modem music, seemed to me to justify an attempt, for once, to reverse the normally accepted view on the subject of the composition of tone colour. The individual quality of restraint which belongs to the nature of these Renaissance instruments made it all the easier for me to introduce each of them in its own unadulterated tonal character. While still a student of musicology in Argentina I began to sketch a similar piece, but I dropped the project at that time, since one of the essential conditions for bringing the idea to fruition-the formation of a truly orchestral ensemble of early instruments-could not then be fulfilled. In the renaissance of the Renaissance which we are now experiencing such an ensemble has become feasible, because copies of most of the instruments have recently been made, and numerous musicians have become proficient in playing them.
Only the formation of complete families of typical instruments, played by 23 musicians, could produce a sound picture true to the period in question. (All the Renaissance instruments required for my composition were represented in the Theatrum Instrumentorum of the "Syntagma Musicum" by Michael Praetorius (1619). During recent years I have become so familiar with each of the instruments used that I could think out its tonal function afresh, and have been able to develop the performing techniques beyond the conventional limits. Even an instrument such as the recorder, which is closely associated with home and school music making of a very different kind, proved to be extremely versatile, and more suitable for use in new instrumental music than, for example, the transverse flute.
Each instrumental part of this work was composed like a solo line. However, the parts were put together as a full score, written in more or less normal notation. Other versions of the work are also possible, using any number of players from two to twenty-two, in every combination of instruments drawn from the original scoring. These reduced versions are entitled "Chamber Music for Renaissance Instruments". The concept of an ad hoc orchestra made up of whatever instruments are available--in accordance with the performing practice of the Renaissance period--is here taken literally, so that a degree of variation is possible which cannot be foreseen by the composer. This work (1965/66) was written in memoriam Claudio Monteverdi. Nevertheless it contains no collages of old music."
~Mauricio Kagel
Source: LP notes
___________________________________________________________________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
17:53
Mauricio Kagel – Match (1964)
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion)
P...
published: 16 May 2011
Mauricio Kagel – Match (1964)
Mauricio Kagel – Match (1964)
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- published: 16 May 2011
- views: 38431
Performed by Geoffrey Gartner and John Addison (cellos) and Claire Edwardes (percussion)
Performed live as part of Sounds Absurd, Nov 30 2010, Carriageworks, Sydney
44:29
Mauricio Kagel. Variété (1977)
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine);
AVA Dance Company ...
published: 16 Dec 2014
Mauricio Kagel. Variété (1977)
Mauricio Kagel. Variété (1977)
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- published: 16 Dec 2014
- views: 9965
Ensemble Con Tempo (Azerbaijan), Conductor Vladimir Runchak (Ukraine);
AVA Dance Company (Germany/Spain);
Eva Zöllner (accordeon, Germany)
The 5th Qara Qarayev International Contemporary Music Festival.
Performance. "Night Cabaret", 18.04.2013
Azerbaijan State Theatre of Young Spectators. Baku, Azerbaijan
56:23
Mauricio Kagel - Repertoire aus Staatstheater
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kag...
published: 17 Aug 2012
Mauricio Kagel - Repertoire aus Staatstheater
Mauricio Kagel - Repertoire aus Staatstheater
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- published: 17 Aug 2012
- views: 52836
In einer Fernsehfilmproduktion spielen das Kölner Ensemble für Neue Musik und Mauricio Kagel "Repertoire" aus "Staatstheater" Szenische Komposition von 1967/70.
1:30:44
Ludwig Van (Full Version) (1969) - Mauricio Kagel
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, cost...
published: 20 Feb 2022
Ludwig Van (Full Version) (1969) - Mauricio Kagel
Ludwig Van (Full Version) (1969) - Mauricio Kagel
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- published: 20 Feb 2022
- views: 4243
Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Joseph Beuys, Dieter Roth, Robert Filliou and many, many permutations of the titular star.
22:40
Peça de Concerto para tímpanos e orquestra de Mauricio Kagel
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23
Sylvain...
published: 13 Dec 2018
Peça de Concerto para tímpanos e orquestra de Mauricio Kagel
Peça de Concerto para tímpanos e orquestra de Mauricio Kagel
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- published: 13 Dec 2018
- views: 167003
Orquestra Sinfónica do Porto Casa da Música · 23 Setembro 2018 / 2018 September 23
Sylvain Cambreling - direcção musical
Jean-François Lézé - tímpanos
A inspiração no passado é também um elemento importante na música de Mauricio Kagel. Nascido na Argentina, fixou-se na Alemanha no final da década de 50, onde interagiu com as correntes estéticas de vanguarda. Um dos aspectos mais marcantes da sua obra é o alargamento do papel do músico. Assim, Kagel integrou uma dimensão teatral na prática instrumental, o que se encontra bem patente na Peça de Concerto para tímpanos e orquestra. Escrita entre 1990 e 1992, é baseada na sua obra Opus 1.991, para orquestra. Kagel transformou-a, acrescentando-lhe um instrumento solista sui generis, os tímpanos. A escrita para percussão solista afirmou-se como uma prática contemporânea, mas dedicar uma obra orquestral aos tímpanos ainda é um fenómeno raro. Assim, Kagel subverte a ideia do solista associada ao virtuoso romântico, apresentando uma obra pouco convencional para um instrumento que raramente desempenha essas funções. A peça resultou de uma encomenda da Orquestra Sinfónica “Arturo Toscanini” da Emília-Romanha, que a estreou em Reggio Emilia a 17 de Outubro de 1992, com Jean-Pierre Drouet como solista e Fabrice Bollon como chefe de orquestra.
A obra tem uma abordagem humorística não só aos géneros para solista e orquestra, mas também à especificidade do instrumento. Com uma linguagem predominantemente diatónica, oscilando entre uma escrita convencional e uma abordagem mais livre, as atenções centram-se no virtuosismo do timpaneiro. Tendo em conta as suas características teatrais, é uma peça cuja eficácia assenta na visualidade da performance. Assim, à medida que a actividade do solista se torna gradualmente menos convencional, entramos numa espiral humorística em crescendo. A seriedade da sala de concertos, um templo para o público do século XIX, é subvertida pelo compositor, que mistura técnicas das vanguardas musicais contemporâneas com estratégias comunicativas próximas dos Irmãos Marx.
João Silva, 2017
19:29
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel
Organ: Domink Susteck
I. Raga
II. Rauschpfeifen
III. Repercussa
IV. Ragtime-waltz
V. Rond...
published: 07 Dec 2022
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel
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- published: 07 Dec 2022
- views: 2528
Organ: Domink Susteck
I. Raga
II. Rauschpfeifen
III. Repercussa
IV. Ragtime-waltz
V. Rondeña
VI. Ripieno
VII. Rosalie
VIII. Rossignols Enrhumés
Mauricio Kagel
Mauricio Kagel (Spanish pronunciation: [mauˈɾisjo ˈkaɣel]; December 24, 1931 – September 18, 2008) was a German-Argentine composer. He was notable for his interest in developing the theatrical side of musical performance (Grimshaw 2009).
Biography
Kagel was born in Buenos Aires, Argentina, into a Jewish family which fled from Russia in the 1920s (Anon. n.d.). He studied music, history of literature, and philosophy in Buenos Aires (Grimshaw 2009). In 1957 he came as a scholar to Cologne, Germany, where he lived until his death.
From 1960–66 and 1972–76, he taught at the International Summer School at Darmstadt (Attinello 2001).
He taught at the State University of New York at Buffalo from 1964 to 1965 as Slee Professor of music theory and at the Berlin Film and Television Academy as a visiting lecturer. He served as director of courses for new music in Gothenburg and Cologne (Attinello 2001). He was professor for new music theatre at the Cologne Conservatory from 1974 to 1997.
Invited by Walter Fink, he was the second composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 1991. In 2000 he received the Ernst von Siemens Music Prize.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Mauricio_Kagel
Mauricio Kagel: Two-Man Orchestra...
"Ludvig van" (1970) Mauricio Kagel...
METAPIECE (MIMETICS) - Mauricio Kagel...
Mauricio Kagel - Musik für Renaissance-Instrumente...
Mauricio Kagel – Match (1964)...
Mauricio Kagel. Variété (1977)...
Mauricio Kagel - Repertoire aus Staatstheater...
Ludwig Van (Full Version) (1969) - Mauricio Kagel...
Peça de Concerto para tímpanos e orquestra de Maur...
Rrrrrrr...: 8 Orgelstücke - Mauricio Kagel...
Latest News for: mauricio kagel
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Laurie Tompkins and Max Syedtollan – The Tank
To revel in this bizarre audio-linguistic riddle ... Sonically, The Tank feels connected to the surreal hörspiel experiments of Mauricio Kagel, and Delia Derbyshire and Barry Bermange’s Inventions for Radio broadcasts from the BBC in the mid-1960s ... ....
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Kultur:Von Freiheitskampf und Poesie
Stets �beraus emotional bestimmt, fiel es auch den nachfolgenden Generationen - man denke da nur an Mauricio Kagel - nicht schwer, Neuerungen zu folgen, ja sie sogar entscheidend mitzupr�gen ... Auch wenn sein Instrument der Kontrabass ist ... Teilen ... ....
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Music Current Festival returns with sounds from the cutting edge
We began collaborating to write and perform our own works and some international repertoire that we thought was overlooked in Ireland, like Mauricio Kagel, Peter Ablinger, Karlheinz Essl, Gérard ...
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Quirky, revelatory, intimate … the best classical releases of 2022
A pairing of Stockhausen’s Carré and Mauricio Kagel’s Chorbuch hardly qualifies as contemporary music – the Stockhausen piece is now more than 60 years old – but both works still sound as if they could have been written yesterday ... Photograph ... We said ... .
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Venice Biennale Musica review – things old, new, borrowed and bleurgh
... Battistelli – his “instrumental theatre” Jules Verne, and the widely performed music-theatre piece Experimentum Mundi; later programmes included classic works by Mauricio Kagel and Georges Aperghis.
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Gerald Barry: In the Asylum review – as elliptical and charming as ever
... Irish composer’s operas so successful shines through in these smaller-scale works “ Gerald Barry is always sober,” Mauricio Kagel once said of his former pupil, “but might as well always be drunk”.
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Stockhausen: Carré/Kagel: Chorbuch review – thrillingly original rarities
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