Маурисио Кагель
Биография
Родился в еврейской семье, по материнской линии происходил из белорусских евреев. Изучал в Буэнос-Айресском университете литературу и философию; не был принят в консерваторию, но частным образом занимался под руководством Альберто Хинастера. Начиная с 1950 г. выступал как кинокритик, в 1955—1957 гг. работал репетитором с хором Камерной оперы Театра Колон.
С 1957 г. жил и работал в Кёльне. В 1960—1976 гг. (с небольшим перерывом) преподавал на Летних курсах новой музыки в Дармштадте, в 1974—1997 гг. профессор музыкального театра в Кёльнской консерватории. В разное время преподавал также в Буффало, Гётеборге, Берлине.
Творчество
Наибольшую известность принесли Кагелю произведения, в которых наряду с собственно музыкальной составляющей присутствует элемент перформанса, вторгающийся в музыкальную ткань и трансформирующий её.
Каталог произведений
1950
- Palimpsestos for mixed choir a capella
1952
- Two Pieces for Orchestra
- Variations for mixed quartet (fl, cl, vln, vc)
1953
- Sextet (fl, cl, bcl, vln, vla, vc); revised 1957 as String Sextet (2 vln, 2vla, 2 vc)
1954
- M?sica para la torre (‘Music for the Tower’); in four parts: 1) For Orchestra [the Two Pieces from 1952], 2) Study for Percussion, 3) Ostinato for Chamber Ensemble, 4) ensayo de m?sica concreta (Essay in musique concr?te)
- Muertos de Buenos Aires, music for the film of the same title by Alejandro Sanderman
- Cinco cantos de G?nesis for voice and piano
- Four Pieces for piano
1955
- Drei Klangstudien (‘Three Studies in Sound’)
1956
- De ruina mundis: Cantata for voice and instruments
- Aforismos de Apollinaire for clarinet and piano
- Prelude No. 1 for bandoneon
1958
- Anagrama for vocal soloists, speaking choir and chamber ensemble
1959
- Transici?n II for piano, percussion and two tape recorders
1960
- Transici?n I for electronic sounds
- Sur sc?ne: Chamber music theatre piece
- Sonant (1960/...) for guitar, double bass, harp, and skin instruments
- Pandorasbox (Bandoneonpiece) for bandoneon
- Journal de th??tre: Collection of situations for instruments, actors and props; later to comprise ‘Pas de cinq’ (1965), ‘Camera oscura’ (1965), ‘Die Himmelsmechanik’ (1965), ‘Variaktionen’ (1967) and ‘Kommentar und Extempore’ (1967)
- Le Bruit: Invection pour toute sorte de sources sonores et expressions injurieuses (unpublished, unperformed)
1961
- Mimetics (Metapiece) for piano; a) for solo piano, b) interrupted by other compositions, c) as Metapiece (Mimetics), simultaneous with other compositions by Kagel or other composers
- Heterophonie for orchestra
1962
- Improvisation ajout?e for organ; rev. 1968
- Antithese; a) Music for electronic and public sounds; b) Play for one actor with electronic and public sounds
1964
- Phonophonie: Four melodramas for two voices and other sound sources; rev. 1965; radiophonic version 1965
- Die Frauen (‘The Women’): Theatrical piece for ladies for voices and instruments (unpublished, unperformed)
- Prima vista for slide pictures and indeterminate number of sound sources
- Diaphonie Nos 1–3 for choir and/or orchestra and slide projectors
- Match for three players
- Composition und Decomposition: A reading piece
1965
- Tremens; a) Scenic montage of a test for two actors, electric instruments, percussion, tapes and slide projection; b) Variaktionen ?ber Tremens: Scenic montage of a test for two actors, tapes and slide projection; c) Musik aus Tremens [instrumental version with tapes ad lib]
- ‘Pas de cinq’: Walking scene for five actors; part of Journal de th??tre (1960)
- ‘Die Himmelsmechanik’ (‘The Mechanism of the Sky’): Composition with stage d?cors; part of Journal de th??tre (1960)
- ‘Camera oscura’: Chromatic play for light sources and actors; part of Journal de th??tre (1960)
- Mirum for tuba
1966
- Music for renaissance instruments for 23 players; alt. Chamber Music for Renaissance Instruments for 2–22 players
1967
- String Quartet I/II
- ‘Kommentar und Extempore’ (‘Commentary and Extempore’): Monologues with gestures; part of Journal de th??tre (1960)
- ‘Variaktionen’ (‘Vari-actions’) for singers and actors; part of Journal de th??tre (1960)
- Fantasy for organ with obbligati
- Montage for various sound sources [combination of several of Kagel’s instrumental compositions]; Montage ? titre de spectacle [version with theatrical works]
1968
- Hallelujah for voices
- Der Schall (‘Sound’) for five players
- Privat for lonely listener
- Ornithologica multiplicata for exotic and indigenous birds
1969
- Synchronstudie (‘Study in Synchronicity’) for singer, Foley artists and film projection
- Unter Strom (‘Under Current’) for three players
- (H?rspiel) Ein Aufnahmezustand (1. Dosis) (‘(Radio Play) A State of Recording (first dose)’)
1970
- Ludwig van: Homage by Beethoven
- Acustica: Music for experimental sound producers, loudspeakers and two to five players
- Klangwehr (‘Sound Defence’) for marching music corps
- Tactil for three
- Atem (‘Breath’) for one wind player
- Staatstheater: Scenic composition; constituents:
- ‘R?pertoire’: Theatrical concert piece
- ‘Einspielungen’ (‘Recordings’): Music for loudspeakers
- ‘Ensemble’ for 16 voices
- ‘Deb?t’ for 60 voices
- ‘Saison’ (‘Season’): Singspiel in 65 scenes
- ‘Spielplan’ (‘Programme’): Instrumental music in action
- ‘Kontra ® Danse’: Ballet for non-dancers
- ‘Freifahrt’ (‘Free Ride’): Gliding chamber music
- ‘Parkett’ (‘Stalls’): Concert mass scenes
1971
- (H?rspiel) Ein Aufnahmezustand (2. und 3. Dosis)
- Probe (‘Rehearsal’) for an improvised collective; radiophonic version 1972
- Morceau de concours for one or two trumpeters; rev. 1992
- Guten Morgen! (‘Good morning!’): radio play consisting of advertisements
1972
- Programm: conversations with chamber music; sections:
- ‘Abend’ (‘Evening’) for vocal double quartet, trombone quintet, electric organ and piano
- ‘Aus Zungen Stimmen’ (‘From Tongues Voices’) for accordion quintet
- ‘Charakterst?ck’ (‘Character Piece’) for zither quartet
- ‘Gegenstimmen’ (‘Countervoices’) for mixed choir and obligatory harpsichord
- ‘General Ba?’ for continuing instrumental sounds
- ‘Die Mutation’ (‘The Mutation’) for men’s (and/or boys’) voices and obligatory piano
- ‘Musi’ for plucking orchestra
- ‘Recitativarie’ for singing harpsichordist
- ‘Siegfriedp’’ for violoncello
- ‘Unguis incarnatus est’ for piano and...[bass instrument]
- ‘Vom H?rensagen’ (‘Hearsay’) for women’s (and/or girls’) choir and obligatory harmonium
- Exotica for extra-European instruments
- Con Voce for three mute players
- Variationen ohne Fuge (‘Variations without Fugue’) for large orchestra on Variations and Fugue on a Theme by Handel for piano Op. 24 by Johannes Brahms (1861/62)
1973
- 1898 for children’s voices and instruments; rev. 1996
- Zwei-Mann-Orchester (‘Two-Man-Orchestra’) for two one-man-orchestras
1975
- Soundtrack: A filmic radio play
- Mare nostrum: Discovery, pacification and conversion of the Mediterranean region by a tribe from Amazonia [music theatre]
- Kantrimiusik: Pastoral for voices and instruments
1976
- Bestiarium: Acoustic fables on two stages
- Z?hlen und Erz?hlen (‘Counting and Recounting’) for non-grownups [music theatre by children]
- Die Umkehrung Amerikas (‘The Reversal of America’): Epic radio play
- MM 51: A piece of film music for piano
1977
- An Tasten (‘On Keys’): Piano etude
- Quatre degr?s (‘Four Stages’); sections:
- ‘Dressur’ (‘Dressage’): Percussion trio for wooden instruments
- ‘Pr?sentation’ for two
- ‘D?m?nagement’ (‘Removal’): Silent play for stage workers
- ‘Vari?t?’: Concert show for artistes and musicians
1978
- Tango alem?n for voice, violin, bandoneon, and piano
- Ex-Position; constituents:
- ‘Die Rhythmusmaschinen’ (‘The Rhythm Machines'): Action for gymnasts, drum machines, and percussionists
- ‘Chorbuch’ (‘Choir Book’) for vocal ensemble and keyboard instruments
- ‘Zehn M?rsche, um den Sieg zu verfehlen’ (‘Ten Marches to Miss the Victory’) for winds and percussion; from Der Tribun (1979)
- Die Ersch?pfung der Welt: Theatrical illusion in one act
1979
- Blue’s Blue: An ethnomusicological reconstruction for four players
- Klangw?lfe (‘Sound Wolves’) for violin and piano
- Der Tribun (‘The Tribune’): Radio play for a political orator, marching sounds and loudspeakers
- Vox Humana? Cantata for solo loudspeaker, women’s voices and orchestra
- Aus Deutschland: lieder opera
1981
- Mitternachtsst?k for voices and instruments on fragments from the diaries of Robert Schumann (1828); fourth movement added in 1986
- Finale with chamber ensemble
1982
- Rrrrrrr...
- a) A radio fantasy (with 41 pieces):
- 11 pieces for winds, double basses and percussion: ‘Raccontando’, ‘Rauschpfeifen’, ‘Rejdov?k’, ‘Register’, ‘R?jouissance’, ‘Reprisen’, ‘Reveille/Retraite’, ‘Rhapsodie’, ‘Rheinl?nder’, ‘Ritornell 1’, ‘Ritornell 2’
- Seven pieces for mixed choir (piano ad lib): ‘Rrrrrrr...’, ‘Requiem’, ‘Resurrexit dominus’, ‘R?verie’, ‘Rex tremendae’, ‘Romance’, ‘Ring Shouts’
- Eight pieces for organ: ‘R?ga’, ‘Rauschpfeifen’, ‘Repercussa’, ‘Ragtime-Waltz’, ‘Ronde?a’, ‘Ripieno’, ‘Rosalie’, ‘Rossignols enrhum?s
- Six pieces for two percussionists: ‘Railroad Drama’, ‘Ranz des vaches’, ‘Rigaudon’, ‘Rim Shots & Co.’, ‘Ruf’, ‘Rutscher’
- Four pieces for solo voice with piano accompaniment: ‘Railroad Song’, ‘Rappresentatione sacra’, ‘Revolution Speech’, ‘Rural Blue’
- Five pieces for jazz ensemble: ‘Rackett’, ‘Rrrrrrre-bop’, ‘Reeds’, ‘Rhythm-Bone & Brush’, ‘Riff’
- b) Radio play on ‘A radio fantasy’ for one speaker (1982)
- F?rst Igor, Strawinsky (‘Prince Igor, Stravinsky’) for bass voice and instruments
- Fragen: H?rspot (‘Questions: Listening Slot’)
- Szenario for strings and tape
1983
- Intermezzo for voices and chamber ensemble
- La trahison orale (‘Oral treason’): A musical epic on the devil; radiophonic version 1987
- Two Ballads by Guillaume de Machaut; instrumental realization by Mauricio Kagel
1984
- Der Eid des Hippokrates (‘Hippocrates’ Oath’) for piano three-hands
- ...nach einer Lekt?re von Orwell (‘...upon Reading Orwell’): Radio play in Germanic meta-language
1985
- Pan for piccolo and string quartet
- Saint Bach’s Passion for solo voices, choirs and large orchestra
- C?cilia: Ausgepl?ndert, ein Besuch bei der Heiligen (‘Cecilia: looted, Visit at the Saint’); Radio play
- Trio in Three Movements for violin, violoncello and piano
- Mio caro Luciano: Tape collage
1986
- Aus dem Nachla? (‘From the Estate’): Pieces for viola, violoncello, and double bass
- Ein Brief (‘A Letter’): Concert scene for mezzo and orchestra
- Old/New: Study for solo trumpet
1987
- Ce-A-Ge-E for piano and harmonizer
- For Us: ‘Happy Birthday to You’; a) for four violoncellos; b) arranged for picc (doubling alto fl), cl, vla, db, mandoline, gt, hp, perc (1990)
- Third String Quartet in four movements
- Tantz-Schul: Ballet d’action; also version as Suite for Orchestra
1988
- Quodlibet for female voice and orchestra on French chanson lyrics from the fifteenth century
1989
- Music for keyboard instruments and orchestra
- Phantasiest?ck; a) for flute and piano; b) for flute and piano with accompaniment
- ‘Osten’ (‘East’); from Die St?cke der Windrose for salon orchestra
- ‘S?den’ (‘South’); from Die St?cke der Windrose for salon orchestra
- Fragende Ode (‘Questioning Ode’) for double choir, brass and percussion
- Zwei Akte; a) Grand Duo for saxophone and harp; b) for two actors, saxophone and harp
- Les id?es fixes: Rondo for orchestra
1990
- Liturgien for solo voices, double choir, and large orchestra
- ‘Nordosten’ (‘North-east’); from: Die St?cke der Windrose for salon orchestra
- Opus 1.991: Concert piece for orchestra
1991
- “...den 24. xii. 1931”: Garbled news for baritone and instruments
- ‘Nordwesten’ (‘North-west’); from: Die St?cke der Windrose for salon orchestra
- ‘S?dosten’ (‘South-east’); from: Die St?cke der Windrose for salon orchestra
1992
- Konzertst?ck for tympani and orchestra
- Etude No. 1 for large orchestra
1993
- Pass? compos?: KlavieRhapsodie (‘piano rhapsody’)
- Episoden, Figuren: Solo for accordion
- Fanfanfaren for four trumpets
- Melodien for carillon
- Fourth string quartet in three movements
- ‘S?dwesten’ (‘South-west’); from: Die St?cke der Windrose for salon orchestra
1994
- Nah und Fern (‘Near and Far’): Acoustic listening piece for bells and trumpets with background
- ‘Westen’ (‘West’); from: Die St?cke der Windrose for salon orchestra
- ‘Norden’ (‘North’); from: Die St?cke der Windrose for salon orchestra
- Interview avec D. pour Monsieur Croche et orchestre; texts by Claude Debussy
1995
- Serenade for three players
- Schattenkl?nge (‘Shadow Sounds’): Three pieces for bass clarinet
- L’art bruit: Solo for two
- ? deux mains: Impromptu for piano
1996
- Etudes Nos 2–3 for large orchestra
- Orchestrion-Straat for chamber ensemble
- Auftakte, sechsh?ndig (‘Upbeats, six-hands’) for piano and two percussionists; version for two pianos and two percussionists: Auftakte, achth?ndig (2003)
- Eine Brise (‘A Breeze’): Fleeting action for 111 cyclists. Musically enriched sport event in the open
1997
- Ragtime ? trois for violin, violoncello and piano
- Playback Play: News from the music fair; radio play
- Orgelmusik zu vier H?nden (‘Organ Music for four hands’)
1998
- Duodramen for voices and orchestra
- Impromptu No. 2 for piano
1999
- Semikolon: Action with bass drum
- Schwarzes Madrigal (‘Black Madrigal’) for voices and instruments
- Entf?hrung im Konzertsaal (‘Abduction in the Concert Hall’): Musical report of an incident
2000
- Burleske for baritone saxophone and choir
2001
- Quirinus’ Liebeskuss for vocal ensemble and instruments
- Broken Chords for large orchestra
- Second Trio in One Movement for violin, violoncello and piano
- Double Sextet for ensemble
2002
- Das Konzert for solo flute, harp, percussion and strings
- Der Turm zu Babel (‘The Tower of Babel’): Melodies for solo voice
2003
- Andere Ges?nge (‘Other Chants’): Intermezzi for soprano et pour l’orchestre
2004
- Magic Flutes: Perpetual Canon Interrupted for 12
- Vorzeitiger Schlu?verkauf: Unvollendete Memoiren eines Toningenieurs (‘Premature Sale: Unfinished Memoirs of a Sound Engineer’); radio play
- Motettes, for eight celli
2005
- Fremde T?ne und Widerhall (‘Foreign Notes and Echo’) for orchestra
- Capriccio for two pianos
- Five Vocalises, for a Countertenor
2006
- Les Inventions d’Adolphe Sax for saxophone quartet and chamber choir
- Divertimento? Farce for ensemble
- Fifth String Quartet, in two movements
2007
- Verborgene Reime (‘Hidden Rhymes’), for Choir and percussion
- Third Trio, in two movements for violin, cello and piano
–Quasi niente for closed mouths
–Erratische Bl?cke (‘Erratic Blocks’), radio piece from acoustic images
2008
–In der Matratzengruft (‘In the Mattress Crypt‘), attempt at a description on words by Heinrich Heine, for solo tenor and ensemble (unfinished)
Фильмография (музыка к фильмам)
- Antithese; NDR (1965)
- Match; WDR (1966)
- Solo; NDR (1967)
- Duo; NDR (1968)
- Hallelujah; WDR (1969)
- Ludwig van; WDR (1970)
- Tactil; WDR (1971)
- Zwei-Mann-Orchester; WDR (1973)
- Unter Strom; Radio Svizzera Italiano (1975)
- Kantrimiusik; SWF (1976)
- Phonophonie; Swiss Television DRS (1979)
- Blue’s Blue; Swiss Television DRS (1981)
- MM 51; Swiss Television DRS (1983)
- Szenario: Un chien andalou (Bu?uel/Dal?); Swiss Television DRS (1982)
- Er: Television play on A Radio Fantasy; WDR (1984)
- Dressur; Swiss Television DRS (1985)
- Mitternachtsst?k; Swiss Television DRS (1987)
- R?pertoire; ZDF (1989)
- Bestiarium; WDR (2000)
Признание
Лауреат ряда международных премий, в том числе Премии Эрнста фон Сименса (2000) и Премии Рольфа Шока (2005).