Mauricio Kagel

        毛里西奧·勞爾·卡赫爾（Mauricio Raúl Kagel，1931年12月24日－2008年9月18日），德國(guó)阿根廷裔作曲家、指揮、編劇、導(dǎo)演，主要作品涵蓋了器樂、音樂戲劇、廣播劇以及電影，是20世紀(jì)下半葉新音樂（Neue Musik）的重要代表人物。
        毛里西奧·卡赫爾出生于布宜諾斯艾利斯的一個(gè)猶太人家庭，父母在20世紀(jì)20年代從俄國(guó)逃離至阿根廷?？ê諣栐缙趯W(xué)習(xí)器樂、文學(xué)史和哲學(xué)，在布宜諾斯艾利斯做過影評(píng)家、鋼琴伴奏和指揮等工作。在德國(guó)達(dá)姆施塔特參加了新音樂的短期課程之后，卡赫爾攜妻子于1957年持獎(jiǎng)學(xué)金來到德國(guó)科隆，并終生居住于此。
       卡赫爾在20世紀(jì)60年代至70年代間在達(dá)姆施塔特、科隆、柏林、哥德堡、紐約等地?fù)?dān)任教師和客座講師，1974年至1997年間擔(dān)任科隆音樂學(xué)院音樂戲劇教授。
        卡赫爾是科隆新音樂樂團(tuán)的創(chuàng)始人之一，在科隆、慕尼黑和烏得勒支等地的電子音樂工作室進(jìn)行過創(chuàng)作。他不但指揮自己的許多作品，同時(shí)是自己創(chuàng)作的電影和廣播劇的導(dǎo)演和制片人。
        卡赫爾被認(rèn)為是“器樂戲劇”的代表人物，這種創(chuàng)新的表演形式把演奏者的面部表情、姿勢(shì)和動(dòng)作囊括到作品之中，并且突破許多戲劇的習(xí)慣和傳統(tǒng)。例如作品《國(guó)家劇院》（Staatstheater）名為“Ensemble”的一幕中，16個(gè)不同音域的歌手都身穿歌劇戲服，然而相互間服飾風(fēng)格完全不搭配，舞臺(tái)上沒有布景，歌手們也被固定在椅子上無法做出動(dòng)作?？ê諣栕约喊l(fā)明樂器和演奏技術(shù)，例如作品《兩人樂團(tuán)》（Zwei-Mann-Orchester）和《異域》（Exotica）。他的音樂作品也有很強(qiáng)的戲劇化風(fēng)格，比如《定音鼓小協(xié)奏曲》（Konzertstück für Pauken und Orchester）要求獨(dú)奏者在樂曲結(jié)束時(shí)把自己的頭部砸進(jìn)鼓中。
by J. Neal
Born in Buenos Aires, Argentina, Kagel proved to be one of the most versatile, creative and witty composers to come of age in the second half of the 20th century. He studied piano, theory, violoncello, organ, singing, and conducting, and was self-taught as a composer. Kagel also studied philosophy and literature extensively during his college years, and his career eventually included film and drama.
 
His early career found Kagel filling positions that drew upon all of these interests. He took a position in Colón as conductor of the Chamber Opera and Theater, also conducting new-music concerts in the late '50s. The 1960s found Kagel in the United States, where he undertook a lecture tour and taught briefly at the University of Buffalo. He then returned to Europe, where he filled Stockhausen's shoes as the director of the Institute of New Music at the Rheinsiche Musikschule. He was also a presence at the West German Radio electronic music studio, and produced several of his own films and plays.
 
One can find in Kagel's output elements ranging from serialism to expressionism to musique concrete to Dada to aleatoria. Many of his works also employ musical collage techniques, such as his "Music for Renaissance Instruments" and the music for the film Ludwig Van. The influence of Satie and Cage can be seen in "Der Schall" and "Unter Strom," two chamber pieces which call for a variety of archaic, invented, or "nonmusical" instruments. Again, however, these sounds are not thrown together with reckless abandon; as Kagel himself stated, "An essential aspect of my work is strict composition with elements which are not themselves pure."