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See details. Item location:. Commerce, CA, United States. Actions are to be made within certain time periods, the actions being chosen from a range of twenty nouns or verbs. The result is a display of unassociated actions and situations, an assault on the senses of incoherent and inconsequential material which must be observed impartially and dispassionately. The entrance of John Cage into Europe in had a profound effect on Kagel's work, providing him with new freedom in working with his medium.
This is a direct result of involvement with Cage's performances in Europe. In Kagel's work. His music thrives on contradictions between what is seen and what is heard. At another point the percussionist's actions produce no sound of their own: they merely interfere with the sounds produced by the pianist. The most formative influence on Kagel's work came not from Futurism or Dada, but the Surrealist performance movement which let to the Theatre of the Absurd in the fifties.
Psychic automism in its pure state, by which one proposes to express - verbally, by means of the written work, or in any other manner - the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested plan of thought.
It tends to ruin once and for all all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life. Maxime:Elbow on the table like naughty children. Here are the multiple 'short-circuits' which Breton discusses in his Second Manifesto of Surrealism, here is the sabotaging of the usual 'insanities' which form the realistic current of life.
Bearing in mind the dream origin of Match, what the French poet Supervielle wrote in seems very apt: "Until now we have never known anything that could so easily assimilate the unlikely. Film does away with transitions and explanations, it confuses and makes us confuse reality with unreality. It can disintegrate and reintegrate anything. As Kagel wrote: "the reality of the performance may appear to be normal or completely distorted: the difference remains entirely imperceptible.
One of the strongest images in the film is an imaginary 'Beethoven house', where fragments of Beethoven's music is pasted over all the walls and furniture in a music room. This created a musical collage, that was based on a film collage, that again was based on a collage of Beethoven's music. In his score for strings and tape, played live by an anonymous ensemble, he has created the sort of counterpart for this remarkable film that few other living composers probably could.
He contrasts a fairly traditional, melodic sound in the strings with solitary dog sounds heard over loudspeakers. Below is a still from his film Ludwig Van:. The plays of a number of dramatists, especially in France during the s, offered a vision of humanity struggling vainly and therefore absurdly to control its fate in a world that seemed in any case bent on destruction.
Certain recurring themes of futility and hopelessness caused them to be labelled the 'absurd' school. The Theatre of the Absurd has been traced directly from the work of Alfred Jarry, and the Surrealist sketches that occurred in Paris as a result of Jarry's work. The similarity between Kagel's work and some of the Absurd playwrights is quite interesting, and it could be said that he played an important part in the movement itself.
A lecturer comes on stage and ostensibly begins a lecture on post-war New Music. All the familiar academic turns of phrase are present in profusion, but these phrases serve only as embellishments for a kernel of meaning which never actually arrives. The 'lecture on New Music' is exposed as a framework without content, an institution without a function. Below is an extract from the score:. Their encounters are 'theatrical' and not detached movements. In Quad, a piece for four players, light and percussion, the performers must move to percussive sound while walking along a pre-planned journey on the lines joining the points on a cube.
The borderline between music and theatre in this case presents considerable ambiguity, and perhaps this is the point where the two mediums coalesce most closely.
Below are some examples from both pieces:. Bertolt Brecht was another outstanding innovator in experimental theatre, who practised and formulated his own theory of the separation of the elements.
The orchestra was placed on stage, and for the singing of songs a special change of lighting was arranged: the orchestra was lit up; the titles of the various numbers were projected on the screens at the back, and the actors changed position before the number began.
There was a definite tendency for the arts and sciences towards analysis and the exhaustive examination of small units. This was the period leading up to the great discoveries of micro-physics and nuclear science, thus the urge to break up entities into their basic elements and reconstitute them in new relationships was mirrored in the arts. Brecht was altering the relationships between these separated elements to create new meanings and associations in the resultant structure with a new emphasis on music.
Kagel's interest in exploring the relationships between incomparison to the fusion between different mediums is an expression of this, and he was later to make this analysis itself an object of his art. Rather, film and music achieve through rigorous composition a unity whose dialectical nature can only be preserved in their dissociation, which in turn results in a continual tension between them.
Mauricio Kagel: Tantz-Schul. Alexandre Tharaud. John Cage. Spoken Word. Mauricio Kagel: Sankt-Bach-Passion. Corrado Rojac. Art Supervisor, Liner Notes. Mauricio Kegel: Playback Play. Kagel Orchestral Works. Primary Artist, Conductor. Solowerke Fur Akkordeon Und Klavier.
Primary Artist, Producer, Text, Composer. Mauricio Kagel: Chamber Works. L'art pour l'art. Donaueschinger Musiktage Blues for Piano. Marcel Worms. Primary Artist, Director, Recording, Talking. Mauricio Kagel 2. Trumpet, Vocals. Donaueschinger Musiktage 75 Jahre vol.
After a Lecture by Orw. Mauricio Kagel 7. Primary Artist, Adaptation. Bach: Mass in B minor . Herbert von Karajan.
Quotation Author. Ein Aufnahmezustand: Spinning Top. Mauricio Kagel , Non European Instrumentalists. Imaginary Landscape. Ludwig Van film. Music for Renaissance Instruments. Collegium Instrumentale , Mauricio Kagel. Opus 1. Pandorasbox, bandoneonpiece. Playback Play News from the Music Fair. Tantz-Schul: Part I: Cogi.Mauricio Kagel (born in Buenos Aires, December 24, , died in Cologne, September 18, ) was an Argentine composer who has lived in Germany for most of his career. He was most famous for his interest in developing the theatrical side of musical performance.