Vom instrumentalen zum imaginären Theater

What an incredible development lies between pieces like Match, Staatstheater, Zwei-Mann-Orchester and Broken Chords, Das Konzert or the V. Streichquartett.

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
Matthias Kassel, Textgespinste - Zur textlich-musikalischen Verflechtung in einigen
vocal works by Mauricio Kagel
Helga de la Motte-Haber, Abduction from the Frame of the Concert Hall
Matthias Rebstock, On the presence of the absent in instrumental theater
by Mauricio Kagel
Karl-Heinz Zarius, "An acoustic silent movie". 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 tonality as a continuation of Liszt's concept of
of the "poetic thought"
Pia Steigerwald, Emotional 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, Laudatio (On the conferral of the degree of Dr. phil. h. c. on Mauricio Kagel
Mauricio Kagel, Acknowledgments
Werner Klüppelholz, The symposium hums. Almost nothing to Kagel's Quasi niente

Contents Volume I

Table of Contents Volume II