Маурисио Кагель: биография
- ‘Pas de cinq’: Walking scene for five actors; part of Journal de th??tre (1960)
- ‘Die Himmelsmechanik’ (‘The Mechanism of the Sky’): Composition with stage d?cors; part of Journal de th??tre (1960)
- ‘Camera oscura’: Chromatic play for light sources and actors; part of Journal de th??tre (1960)
- Mirum for tuba
1966
- Music for renaissance instruments for 23 players; alt. Chamber Music for Renaissance Instruments for 2–22 players
1967
- String Quartet I/II
- ‘Kommentar und Extempore’ (‘Commentary and Extempore’): Monologues with gestures; part of Journal de th??tre (1960)
- ‘Variaktionen’ (‘Vari-actions’) for singers and actors; part of Journal de th??tre (1960)
- Fantasy for organ with obbligati
- Montage for various sound sources [combination of several of Kagel’s instrumental compositions]; Montage ? titre de spectacle [version with theatrical works]
1968
- Hallelujah for voices
- Der Schall (‘Sound’) for five players
- Privat for lonely listener
- Ornithologica multiplicata for exotic and indigenous birds
1969
- Synchronstudie (‘Study in Synchronicity’) for singer, Foley artists and film projection
- Unter Strom (‘Under Current’) for three players
- (H?rspiel) Ein Aufnahmezustand (1. Dosis) (‘(Radio Play) A State of Recording (first dose)’)
1970
- Ludwig van: Homage by Beethoven
- Acustica: Music for experimental sound producers, loudspeakers and two to five players
- Klangwehr (‘Sound Defence’) for marching music corps
- Tactil for three
- Atem (‘Breath’) for one wind player
- Staatstheater: Scenic composition; constituents:
- ‘R?pertoire’: Theatrical concert piece
- ‘Einspielungen’ (‘Recordings’): Music for loudspeakers
- ‘Ensemble’ for 16 voices
- ‘Deb?t’ for 60 voices
- ‘Saison’ (‘Season’): Singspiel in 65 scenes
- ‘Spielplan’ (‘Programme’): Instrumental music in action
- ‘Kontra ® Danse’: Ballet for non-dancers
- ‘Freifahrt’ (‘Free Ride’): Gliding chamber music
- ‘Parkett’ (‘Stalls’): Concert mass scenes
1971
- (H?rspiel) Ein Aufnahmezustand (2. und 3. Dosis)
- Probe (‘Rehearsal’) for an improvised collective; radiophonic version 1972
- Morceau de concours for one or two trumpeters; rev. 1992
- Guten Morgen! (‘Good morning!’): radio play consisting of advertisements
1972
- Programm: conversations with chamber music; sections:
- ‘Abend’ (‘Evening’) for vocal double quartet, trombone quintet, electric organ and piano
- ‘Aus Zungen Stimmen’ (‘From Tongues Voices’) for accordion quintet
- ‘Charakterst?ck’ (‘Character Piece’) for zither quartet
- ‘Gegenstimmen’ (‘Countervoices’) for mixed choir and obligatory harpsichord
- ‘General Ba?’ for continuing instrumental sounds
- ‘Die Mutation’ (‘The Mutation’) for men’s (and/or boys’) voices and obligatory piano
- ‘Musi’ for plucking orchestra
- ‘Recitativarie’ for singing harpsichordist
- ‘Siegfriedp’’ for violoncello
- ‘Unguis incarnatus est’ for piano and...[bass instrument]
- ‘Vom H?rensagen’ (‘Hearsay’) for women’s (and/or girls’) choir and obligatory harmonium
- Exotica for extra-European instruments
- Con Voce for three mute players
- Variationen ohne Fuge (‘Variations without Fugue’) for large orchestra on Variations and Fugue on a Theme by Handel for piano Op. 24 by Johannes Brahms (1861/62)
1973
- 1898 for children’s voices and instruments; rev. 1996
- Zwei-Mann-Orchester (‘Two-Man-Orchestra’) for two one-man-orchestras
1975
- Soundtrack: A filmic radio play
- Mare nostrum: Discovery, pacification and conversion of the Mediterranean region by a tribe from Amazonia [music theatre]
- Kantrimiusik: Pastoral for voices and instruments
1976
- Bestiarium: Acoustic fables on two stages
- Z?hlen und Erz?hlen (‘Counting and Recounting’) for non-grownups [music theatre by children]
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