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	Mauricio Kagel - Wikipedia, the free encyclopedia
		Mauricio Kagel (born Buenos Aires, December 24, 1931) is an Argentine composer who has lived in Germany for most of his career.
		Kagel later turned the film into a piece of sheet music itself which could be performed in a concert without the film - the score consists of close-ups of various areas of the studio, which are to be interperated by the performing pianist.
		Kagel has also written a large number of more conventional, "pure" pieces, including orchestral music, chamber music, and film scores.
	en.wikipedia.org /wiki/Mauricio_Kagel (432 words)

	Universal Edition Music Publisher - Mauricio Kagel - Biography
		Mauricio (Raúl) Kagel was born in Buenos Aires on 24 December 1931 into a polyglot Argentine-Jewish family with strongly leftist political views.
		In 1957 Kagel traveled to Germany on a DAAD student grant, settled in Cologne, and became immediately and permanently involved in the contemporary music network as a member of the so-called "second generation" of Darmstadt composers.
		Kagel was one of the founders of the Ensemble for New Music in Cologne and has worked at the electronic studios in Cologne, Berlin, and Utrecht.
	www.universaledition.com /truman/en_templates/view.php3?f_id=143&spr=en (303 words)

	BBC - Cut and Splice 2005 - Mauricio Kagel
		Mauricio Kagel was born in Buenos Aires in 1931.
		In 1957 Kagel travelled to Germany on a DAAD student grant, settled in Cologne, and became involved in the local contemporary music scene as a member of the so-called 'second generation' of Darmstadt composers.
		Kagel lectured on the Darmstadt summer courses (1960-66, 1972-76) and conducted the Rheinland Chamber Orchestra in contemporary music concerts (1957-61).
	www.bbc.co.uk /radio3/cutandsplice/kagel.shtml (732 words)

	Browse by Artist: KAGEL, MAURICIO
		"Mauricio Kagel, born in Buenos Aires in 1931, is one of today's most distinctive composers.
		With inexhaustible powers of invention, Kagel makes use of a very wide array of expressive devices which, although often caustic and provocative, are always placed in the service of musical discourse.
		To celebrate Mauricio Kagel's 70th birthday, Wergo published two early works by Kagel on CD, previously only available on LP: 'Heterophonie' and 'Improvisation ajoutée for organ' where the performers sing, speak, whistle, shout and clap across the sound of the organ." Deleted, last copies...
	www.forcedexposure.com /artists/kagel.mauricio.html (542 words)

	Films in English about Beethoven : Ludwig van, a film by Mauricio Kagel - Ludwig van Beethoven's website - Dominqiue ...
		Then, we are present, in the confusion, at a laughable televised dispute over Beethoven and his music; an evaluation of his physical capacities, morales and phsychies of the music of Beethoven on the performers (this part is one of the more humorous); in one interview, in a field, of a descendant of Beethoven...
		Furthermore, Mauricio Kagel is a musician of talent and his adaptations of the music of Beethoven are very successful, indeed rather inspired.
		Kagel's objective is to give the understanding that the interpretations of music of the past should be like music of the present.
	www.lvbeethoven.com /Fictions/FictionFilmsLuwigVan.html (599 words)

	Guardian Unlimited Arts \| \| What rulebook?
		Kagel was born in Buenos Aires in 1931; he read philosophy and literature at the university, where Borges was among his lecturers, and studied piano, conducting, clarinet and cello with private teachers.
		Kagel was frustrated by the increasing academic view of composition and perceived the growing complexity of new music as absurd.
		Kagel also undertook surgical investigations of musical tradition itself: pasting Beethoven scores on to pieces of furniture, staging an orchestral encounter between Brahms and Handel, and setting the life of Bach as a Passion oratorio.
	arts.guardian.co.uk /fridayreview/story/0,12102,970847,00.html (1389 words)

	Mauricio Kagel Music of the Bizarre 2 Nov. '99. (Site not responding. Last check: 2007-11-05)
		Mauricio Kagel' s music does not fit any perspective; it is unique in its divergence and wants to be heard and observed without any reservations.
		Lieuwe Visser (Bass) was the soloist in Fürst Igor, Strawinsky (1982), and Kagel's three-dimensional tribute on the occasion of the tenth anniversary of Strawinsky's death.
		Kagel' s intellectual thoughts, printed in the programme book, are certainly interesting, but were no compensation for the absence of the composer.
	www.musicweb-international.com /SandH/Nov99/Kagel.htm (960 words)

	BOMB Magazine: Mauricio Kagel by Anthony Coleman (Site not responding. Last check: 2007-11-05)
		Mauricio Kagel's seminar in Aix-en-Provence, France, in the summer of 1981, sponsored by the organization Centre Acanthes, was a turning point in my life.
		The seminar was a unique opportunity to connect with the breadth of Kagel's oeuvre and to discover what he had been up to in the interim.
		I was very happy to reconnect with Kagel and to try to fit in, as much as possible, questions and thoughts about his work that have come to me through the years.
	www.bombsite.com /kagel/kagel.html (298 words)

	Lesser-known composers get their due at English festival / Britten's Aldeburgh celebrating work of Mauricio Kagel (Site not responding. Last check: 2007-11-05)
		Kagel loves puzzles, but sometimes, as with the Double Sextet for woodwinds and strings, you are left wondering whether there is any solution.
		Kagel's music was appropriately paired with that of Charles Ives, a comparable mixer and contrarian.
		So was Kagel's recent "Burleske," full of fascinating choral sonorities (like combinations of whistling and wordless singing) and of onomatopoeic effects -- tickings, gallopings and laughter -- that produced a characteristic amalgam of delight and bewilderment.
	www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2003/07/05/DD306738.DTL (1052 words)

	Seen and Heard: A Mauricio Kagel Evening: Music on the Web (UK) (Site not responding. Last check: 2007-11-05)
		Born in Buenos Aires and living in Europe since 1957, Mauricio Kagel became Professor of New Music Theatre in Cologne in 1974 and has often brought his music theatre works to UK (Huddersfield and Almeida Festivals, South Bank Centre).
		In Kagel's musico-ethnological reconstruction he sits with his colleagues listening to an ancient, scratched record of John singing All is blue on Blue's lips and they indulge in imitative improvisation "like a self-replenishing pantry at the open grave of acoustic archaeology", which I found strangely absorbing and moving.
		A companion CD Kagel 1 (Auvidis Montaigne MO789004 purchase) is recommended by Richard Whitehouse in his concert review; besides the 3 String Quartets (Arditti Quartet) it includes a unique quintet, Pan for piccolo and string quartet.
	www.musicweb-international.com /SandH/KAGEL.htm (798 words)

	Kagel: UNESCO Culture Sector
		Born in Buenos Aires, 1931, an internationally recognized composer, was experimenting with electroacoustic medias in Argentina during the early 50s.
		Kagel was trying to set an electronic music studio in Argentina during the 50s, but this was not possible for him then.
		Kagel directed many films, and he was among the founders of the Argentina Film Library (Cinemateca Argentina) during the early 50s.
	portal.unesco.org /culture/en/ev.php-URL_ID=15914&URL_DO=DO_TOPIC&URL_SECTION=201.html (224 words)

	Hagiography and Passion - Eclectica Magazine — Jan/Feb 2003
		Mauricio Kagel, the Mexican composer, is known for slowly constructed scores of great detail and structural complexity.
		In fact, Bach's conceptualizing of a musical event in which the audience-congregants "feel" and experience not an aesthetic representation of a sacred event but the "feel" and experience of the event as original participants are presumed to have experienced it, is a fundamental epistemological leap that western composers rarely attempt.
		In any case, some of those infuriated and humbled listeners will return to Kagel's music with a culminating sense of marvel at its emotion and elegant design that will seem at times to be Bach's music itself wearing an astonishingly contemporary garb.
	www.eclectica.org /v7n1/making_time.html (813 words)

	Bagatellen: Mauricio Kagel - Transicion II; Phonophonie
		Mauricio Kagel has been called the prankster of the avant-garde.
		I think this Kagel's overall output has suffered from his flightiness, and while this aspect of his personality has helped to produce a clever collagist and master of pastiche, I don’t believe there are any legitimate masterworks in his oeuvre.
		Kagel is a careful craftsman as well as a seminal innovator with a fertile imagination and a hearty sense of humor.
	www.bagatellen.com /archives/reviews/000397.html (728 words)

	Mauricio Kagel - Composer
		Mauricio Kagel was born in 1931 in Buenos Aires; there he studied in private form - piano, violoncello, organ, song, address and theory.
		After their plans shipwrecked to found a study of electronic music, it assumed director's position in the opera of camera of the Teatro Colón.
		With a scholarship the German government's DAAD, Kagel arrived in 1957 to Colony, then a center neuralgic of the New Music, where it continues living.
	www.ciweb.com.ar /Kagel/index2.php (300 words)

	OhioLINK ETD: NEMITH, JOSHUA
		Kagel’s solo piano works span the composer’s mature career and aesthetically follow his compositional development.
		Much of Kagel’s music relies on a constant transformation of “musical figures” (which are constructed from single notes, chords, rhythmic motives, or any combination thereof); thus, analysis centers around transformational processes.
		One hopeful goal of this thesis is to help illuminate how listeners can engage Kagel’s work with a sense of playfulness, especially when confronted with the irony of enclosing within single works notions of modernism and postmodernism.
	www.ohiolink.edu /etd/view.cgi?ucin1083163935 (386 words)

	Classics Today.com - Your Online Guide to Classical Music
		But Argentine-born IRCAM mainstay Mauricio Kagel takes that adulation to a new level by putting the composer at the center of his massive 1985 work.
		True to passion-oratorio structure, there is a high element of theater built into the piece: often the music is subservient to the text, and the character of Bach himself never sings.
		Kagel charges his choral and instrumental forces with quite a challenging, busy score, which they handle well (though not without some harrowing pitch problems in track 10 from the children's choir's unnamed boy soloist).
	www.classicstoday.com /review.asp?ReviewNum=5837 (348 words)

	Backstage Pass: Oberlin Wind Ensemble Performs
		The concert, featuring works by Mauricio Kagel, Chou Wen-Cheng and W.A. Mozart, is free and open to the public.
		"'Rrrrrrr...' by Mauricio Kagel, is a work for a large ensemble (winds, brass, basses and percussion) and so utilizes most of the players in the ensemble.
		Kagel's characteristic acerbity and irony are evident in many of the pieces from 'Rrrrrrr...' which the ensemble will play on Friday.
	www.oberlin.edu /con/bkstage/200005/owe.html (494 words)

	ANABlog: Mauricio Kagel
		A Non-European worldview is brought into the concert hall, as the performers assemble a collection of Asian, African and (native) American instruments to interpret Kagel's Exotica.
		In my mind, as Kagel created this Spectacle of Performance, he was at the same time inviting a discussion on the issue of Spectacle.
		Kagel isn't just dishing out a neatly packaged Roundtrip to your favourite destination for World Musics.
	www.analogartsensemble.net /2005/08/mauricio-kagel.html (146 words)

	EMF Institute: Kagel (Site not responding. Last check: 2007-11-05)
		Composer and film director, Mauricio Kagel was one of the first to compose electronic music in Argentina, completing eight new works by 1953.
		His Música para la torre, composed in 1954, was created for an installation that included recorded sounds and light projection as part of an industrial exhibition.
		Kagel sought unsuccessfully to establish an electronic studio in Argentina.
	emfinstitute.emf.org /exhibits/kagel.html (71 words)

	La Folia -- Recordings of new and recent music
		Right off the top, the musicians of a varied chamber ensemble are introduced by Kagel himself, adopting the style of an anonymous announcer over loudspeakers (it’s different from the effect used by Berio in Sinfonia, as Kagel’s intention is not to address the audience, but use the association of the loudspeakers to create an atmosphere).
		I’m a big Kagel fan, but this work is almost too much for me. I’m sure lots of composers and musicians have had the urge to put something like this together (I know I have), but Kagel has the chutzpah and credentials to actually pull it off.
		Kagel fans have to pick this one up, but all others should keep their blood pressure down and stay away.
	www.lafolia.com /archive/covell/covell200108new.html (5757 words)

	Interview with Mauricio Kagel
		Kagel, at the moment you’re probably deluged with interviews*).
		Kagel, I would like to ask you a bit about your past.
		This interview must not be reproduced in part or entirely without the permission of the author and the translator.
	www.beckmesser.de /neue_musik/kagel/int-e.html (3398 words)

	BBC - Cut and Splice 2005 - Mauricio Kagel's Acustica
		Acustica is perhaps the most refined example of Kagel's work within his invented genre of 'instrumental theatre'.
		The score notes that 'the piece calls for unorthodox musicians who are prepared to extend the frontiers of their craft' since few of the 'experimental sound devices' specified are conventional instruments and where conventional instruments are included they are to be played in extraordinary ways.
		Each instrumental action is, however, meticulously notated and the creation and/or modification of instruments are also shown in diagrams and photographs.
	www.bbc.co.uk /radio3/cutandsplice/acustica.shtml (526 words)

	classical music - andante - composer mauricio kagel wins rhine culture prize
		Composer Mauricio Kagel has won the € 30,000 culture prize from Germany's Rhine Savings Bank, klassik.com reports.
		Kagel, a 40-year resident of the Rhineland, is best know for his theatrical, film and radio music and is considered one of the most prolific of contemporary composers, klassik.com notes.
		The 71-year-old composer, who was born in Argentina, taught at Darmstadt in the 1960s, led new music courses in Cologne from 1969 to 1975 and has a been a professor of music theater in Cologne since 1974.
	www.andante.com /article/article.cfm?id=17726&highlight=1&highlightterms=&lstKeywords= (220 words)

	Warsaw Autumn 2002 - Performers
		Born in Buenos Aires in 1931 into a polyglot Argentine-Jewish family with strongly leftist political views, he studied theory, singing, conducting, piano, cello and organ with private teachers, but as a composer was self-taught.
		In 1949 he became artistic advisor to the Agrupaci-n Nueva Música of Buenos Aires.
		In 1974 he became professor of new music theatre at the Musikhochschule in Cologne.
	www.warsaw-autumn.art.pl /02/composers/c15.html (316 words)

	Classical Net Review - Kagel - "1898"
		In the former work, Kagel builds an instrumental ensemble such as might have been used for an old acoustic recording circa 1910, perhaps to accompany an opera singer.
		He carries the concept to its logical extreme by using stringed instruments fitted with the bells of brass instruments.
		Kagel was very interested in the timbral properties of these old instruments.
	www.classical.net /~music/recs/reviews/d/dgg59570a.html (540 words)

	Untitled Document (Site not responding. Last check: 2007-11-05)
		Whenever Mauricio Kagel writes a new orchestral work, the big concert halls are instantly on alert.
		A premiere by Kagel, who recently won the Siemens Music Award, is still a real event.
		Kagel’s irony and sarcastic humour mean that the audience will certainly be in for a surprise.
	www.wienmodern.at /wm/00/IE/english/hl_entf.htm (209 words)

	Dr Bjorn Heile : Music : University of Sussex
		Before becoming a full-time lecturer at the University of Sussex (from 2003), I was Leverhulme Special Research Fellow at the University of Southampton (2001-02) and at Sussex (2002-03).
		Most of my research centres on new music, particularly that of Mauricio Kagel, about whom I have written a book (currently awaiting publication).
		The Music of Mauricio Kagel (Aldershot: Ashgate), forthcoming (announced for August 2006).
	www.sussex.ac.uk /music/profile145973.html (544 words)

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