Vom instrumentalen zum imaginären Theater

What an incredible evolution lies between works such as *Match*, *Staatstheater*, *Zwei-Mann-Orchester*, *Broken Chords*, *Das Konzert*, and the *String Quartet No. 5*.

But even though Mauricio Kagel now uses traditional ensembles such as piano trios, string quartets and symphony orchestras, the question still arises time and again: what is behind the sounds? With keywords such as "musical characters" or "imaginary theater", Kagel himself has provided clues. The papers presented here at the "1st International Kagel Symposium" at the University of Siegen demonstrate that this opens up a new and extremely fruitful perspective not only on his later compositions, but also on his early work. For all the diversity of sounds, images and words, Kagel's oeuvre springs in an astonishing way from a unity of opposites. The lectures are supplemented by the texts and the composition Quasi niente, for closed mouths, which were written on the occasion of Kagel's honorary doctorate in Siegen. A DVD illustrates excerpts from this Kagel symposium.

The Contributions:
Werner Klüppelholz, On the State of Research and This Symposium
Wieland Reich, Intention and Goal: The Beginning as a Compositional Category in Kagel’s Work
Matthias Kassel, Textual Weaves: On the Interplay of Text and Music in Some
Vocal Works by Mauricio Kagel
Helga de la Motte-Haber, Abduction from the Framework of the Concert Hall
Matthias Rebstock, On the Presence of the Absent in Instrumental Theater
by Mauricio Kagel
Karl-Heinz Zarius, “An Acoustic Silent Film.” Critical Reflections
on the Immanent Theatricality of Mauricio Kagel’s Music
Christa Brüstle, Virtual Reality – Real Virtuality. Kagel Exegesis in the Media Age
Björn Heile, Homo ludens? Play and Playing in the Work of Mauricio Kagel
Knut Holtsträter, Kagel’s Serial Tonalities as a Continuation of Liszt’s Concept
of the “Poetic Thought”
Pia Steigerwald, Felt Form – Musical Reflection.
Notes on Kagel’s Piano Music of the 1990s
Jörg Rothkamm, Rhythmic Synchronicity Between Music and Choreography:
Pas de cinq by Mauricio Kagel (1965) as “Instrumental” and “Imaginary Theater”
Frans de Ruiter, Laudation (On the Awarding of the Degree of Dr. phil. h. c. to Mauricio Kagel
Mauricio Kagel, Acknowledgments
Werner Klüppelholz, The Symposium Humming. Almost Nothing on Kagel’s Quasi niente

Contents Volume I

Table of Contents Volume II