Mauricio Kagel

        毛里西奥·劳尔·卡赫尔（Mauricio Raúl Kagel，1931年12月24日－2008年9月18日），德国阿根廷裔作曲家、指挥、编剧、导演，主要作品涵盖了器乐、音乐戏剧、广播剧以及电影，是20世纪下半叶新音乐（Neue Musik）的重要代表人物。
        毛里西奥·卡赫尔出生于布宜诺斯艾利斯的一个犹太人家庭，父母在20世纪20年代从俄国逃离至阿根廷。卡赫尔早期学习器乐、文学史和哲学，在布宜诺斯艾利斯做过影评家、钢琴伴奏和指挥等工作。在德国达姆施塔特参加了新音乐的短期课程之后，卡赫尔携妻子于1957年持奖学金来到德国科隆，并终生居住于此。
       卡赫尔在20世纪60年代至70年代间在达姆施塔特、科隆、柏林、哥德堡、纽约等地担任教师和客座讲师，1974年至1997年间担任科隆音乐学院音乐戏剧教授。
        卡赫尔是科隆新音乐乐团的创始人之一，在科隆、慕尼黑和乌得勒支等地的电子音乐工作室进行过创作。他不但指挥自己的许多作品，同时是自己创作的电影和广播剧的导演和制片人。
        卡赫尔被认为是“器乐戏剧”的代表人物，这种创新的表演形式把演奏者的面部表情、姿势和动作囊括到作品之中，并且突破许多戏剧的习惯和传统。例如作品《国家剧院》（Staatstheater）名为“Ensemble”的一幕中，16个不同音域的歌手都身穿歌剧戏服，然而相互间服饰风格完全不搭配，舞台上没有布景，歌手们也被固定在椅子上无法做出动作。卡赫尔自己发明乐器和演奏技术，例如作品《两人乐团》（Zwei-Mann-Orchester）和《异域》（Exotica）。他的音乐作品也有很强的戏剧化风格，比如《定音鼓小协奏曲》（Konzertstück für Pauken und Orchester）要求独奏者在乐曲结束时把自己的头部砸进鼓中。
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."