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• Personalities
• Classical
• Composer
• Contemporary Classical

(Mou’-res’-yo Ka’-gel) 1931–2008 Argentinian composer Kagel studied at the University of Buenos Aires and later with Juan Carlos Paz (1901–72), but was largely self-taught as a composer. He worked as a pianist and conductor at the Teatro Colón from 1949. In 1957 he moved to Cologne, where he encountered Ligeti and Stockhausen; he taught for many years at the Darmstadt ...

• Personalities
• Modern Era
• Opera

neo-classical and aleatoric styles. Humour, irony, double-meanings and a rejection of music’s more pretentious conventions are omnipresent elements within Kagel’s work. Intent on the theatricalization of music, Kagel used his first opera, Staatstheater, to subvert the hierarchy of the opera house. A ballet is performed by non-dancers, each member of a 60-strong chorus sings a ...

• Personalities
• Classical
• Composer
• Contemporary Classical

b. 1952 Irish composer After graduating from University College, Dublin, he studied with Stockhausen and Kagel in Cologne. His music, while dabbling in the systematic processes of the former, also embodies the often grotesque humour of the latter. While he has composed for chamber and orchestral forces, he is best known for his operas The Intelligence ...

• Personalities
• Classical
• Composer
• Contemporary Classical

and tone art’ – Tonart being German for tonality), drawing in general on popular music from Johann Strauss to the Beatles and in particular on the cabaret tradition (Weill and Kagel were strong inspirations). His most famous work, Frankenstein!! (1976–77), is essentially a cabaret piece, which the composer has frequently performed himself. His Cello Concerto, written for ...

• Personalities
• Classical
• Composer
• Contemporary Classical

have received almost 1,000 live performances since its premiere in 2000. Recommended Recording: Motets, Polyphony (cond) Stephen Layton (Deutsche Grammophon) Introduction | Contemporary | Classical Personalities | Mauricio Kagel | Contemporary | Classical ...

• Personalities
• Modern Era
• Opera

composers and collaborators, her artistic temperament, perfectly suited to verismo roles, was usually channelled towards her on-stage performances. Introduction | Modern Era | Opera Personalities | Mauricio Kagel | Modern Era | Opera Houses & Companies | The Birth of the Metropolitan Opera | Turn of the Century | Opera Techniques | Realism, Naturalisme & Verismo | ...

• Classical
• Contemporary Classical

they soon became one of the most important platforms for the rising avant-garde generation, not only its composers – Boulez, Stockhausen, Nono, Pousseur, Ligeti and Kagel – but also its virtuoso performers, including the oboist Heinz Holliger (b. 1939), also a composer, the cellist Siegfried Palm (1927–2005) and the piano duo of Alfons (1932–2010) ...

• Opera
• Modern Era

The opera house and, more specifically, opera audiences, were among the last to be receptive to the new musical language that developed during the twentieth century. Slow, as well as reluctant to vary their traditional musical tastes, perceptions and expectations, many viewed the opera house with nostalgia; as a symbol of the establishment, holding ...

• Styles & Forms
• Modern Era
• Opera

Throughout the twentieth century, opera constantly re-evaluated and redefined itself. Two world wars created a crisis of national identities that was reflected in a series of artistic challenges within the world of music – tradition over pluralism, experimentation over formalization – as composers sought to free themselves from Austro-Germanic influences. Bolder Attitudes Janáček is a case in point. Quitting ...

• Classical
• Contemporary Classical

1967 as a conduit for their and others’ works. In continental Europe, Berio, Nono and Henze sought forms to serve a radical political agenda, while the Argentinian Kagel and the Americans Cage and Meredith Monk (b. 1943) were among those creating non-narrative theatre through music. Eventually many composers found the label ‘music theatre’ itself constricting. Nevertheless music theatre ...