Heile, Bjorn (2014) Supplement to the Music of Mauricio Kagel. Copyright © 2014 The Author Available under License Creative Commons Attribution Non-commercial No Derivatives. http://eprints.gla.ac.uk/96021/ Deposited on: 14 August 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Supplement To The Music of Mauricio Kagel (Aldershot: Ashgate, 2006) Björn Heile University of Glasgow Edition 1.0 Glasgow, August 2014 Table of Contents Illustrations ............................................................................................................................................ iii About this Publication ............................................................................................................................ iv Acknowledgements ................................................................................................................................. v Errata ...................................................................................................................................................... vi Early Work and Career ............................................................................................................................ 1 Dodecaphony ........................................................................................................................................ 34 The Late Work ....................................................................................................................................... 38 Bibliography .......................................................................................................................................... 57 Discography, Videography .................................................................................................................... 58 Chronological List of Works .................................................................................................................. 59 Lost, withdrawn or dubious works ................................................................................................... 67 Fragments, drafts, exercises or occasional works ............................................................................ 67 Transcriptions ................................................................................................................................... 68 a) By Kagel of his own work .......................................................................................................... 68 b) By Kagel of the work of other composers ................................................................................ 68 c) By others of Kagel’s work .......................................................................................................... 68 ii Illustrations Figure 1: Pre-printed invoice form from the paternal business (Paul Sacher Stiftung, Basel, Sammlung Mauricio Kagel, Frühe Studien und Skizzen, 2/5) .............................................................................. 2 Figure 2a-b: Programme for concert of the Agrupación Nueva Música with premiere of Kagel's Variations (recto and verso); underlinings and pencil annotations in Kagel's hand (Paul Sacher Stiftung, Basel, Sammlung Mauricio Kagel, Programmhefte Argentinien, 1952) .............................. 5 Figure 3: Poster for the creation of a youth choir under Kagel's direction (Paul Sacher Stiftung Basel, Sammlung Mauricio Kagel, Frühe Studien und Skizzen, 3/5) ............................................................ 7 Figure 4: Rhythm sketch for the String Sextet, showing the tala in horizontal and vertical distribution (Paul Sacher Stiftung, Basel, Sammlung Mauricio Kagel, Sexteto) .................................................. 13 Figure 5: Illumination score for Música para una torre (Paul Sacher Stiftung, Basel, Sammlung Mauricio Kagel, Musica para una torre, Beleuchtungspartitur) ...................................................... 15 Figure 6: Near-palindromic form of the third of the Four Pieces for Piano (shading represents the climax and axis) ................................................................................................................................ 23 Figure 7: Mauricio Kagel, Cinco canciones del Genesis, IV, bars 1-6, with row forms, C.F. PETERS Leipzig London New York ................................................................................................................. 25 Figure 8: Sketch from 7 July 1955 (PSS, SMK, Frühe Studien und Skizzen, 4/5, 2. Dossier, lose) ......... 33 Figure 9: Mauricio Kagel, Fünf Vokalisen, No. 1, bars 1-7, C. F. PETERS Leipzig London New York ..... 41 Figure 10: Heinrich Heine motif (B-E-C), Mauricio Kagel, In der Matratzengruft, III, bars 3-4, solo voice only, C. F. PETERS Leipzig London New York .......................................................................... 53 iii About this Publication Mauricio Kagel died almost pen-in-hand on 18 September 2008. Although he was known to be in poor health, he remained active as a composer up to the last moment, and his final work, In der Matratzengruft, remained unfinished and was premiered in this form posthumously. In my book The Music of Mauricio Kagel (Heile 2006b), I endeavoured to discuss all of Kagel’s compositions that were known or could be documented at the time. The writing process was concluded sometime in or around November 2005 at the latest. Between that point and his passing, Kagel wrote a handful of compositions that currently await scholarly documentation and discussion, and a small number had escaped my attention. In addition, the investigation of his estate at the Paul Sacher Stiftung (Basel) revealed a number of his early works as well as sketches, drafts, exercises, programmes, audio recordings and other documents from his youth in Buenos Aires. These throw light not only on his training and early compositional development, but also on the transition to his career in Cologne from 1957. A significant aspect in this regard is Kagel’s understanding of and approach to dodecaphony. The material available before 2008 – the Variations for Mixed Quartet and the Sextet, in the latter case accompanied by sketch and manuscript materials – only granted a partial insight into the composer’s procedures and did not allow for a systematic investigation. Furthermore, recent research provides a much fuller picture of Kagel’s upbringing and artistic development in Buenos Aires than was available when I was writing The Music of Mauricio Kagel: the work of Christina Richter-Ibáñez (2014) deserves special mention in this regard, although Knut Holtsträter (2010), Makoto Mikawa (2012), Pia Steigerwald (2011), Matthias Kassel (2011) and Michael Kunkel (2009) have also supplied important new ideas, even if their research concerns mostly ‘middle- period Kagel’. To this can be added a number of collected volumes, such as Klüppelholz (2008) and Jungheinrich (2009). For these reasons, it seemed opportune to update the earlier book to include discussion of the early and late work. Since no publisher for a revised, second edition could be found, I have decided to write a supplement and make it available online, free of charge. It should be read in conjunction with The Music of Mauricio Kagel which is presently still available for purchase as well as being stocked in most research libraries. Although I think differently now about many issues covered in that book, I have resisted the temptation to write it all over again. This supplement will therefore only add material on the early and late work that has not been previously covered; it will not comment on any of the works discussed previously. There are a number of exceptions to this rule: 1. There is an errata section correcting factual errors in the book (but not matters of judgement). 2. Since, as outlined above, the much fuller picture emerging of Kagel’s early years in Argentina affects our understanding of his earliest work from his Cologne phase, such as Anagrama and Transción II, as well as the Sextet which bridges the two phases, these works will be touched on as well. 3. There is a, as far as can be established, complete (if provisional) catalogue of works. To restrict this to the early and late work would have been impractical. One of the advantages of this form of publication is that it allows correction of errors as well as addition of new materials as they become available. Readers are encouraged to contact me with any additional relevant information, corrections or comments. These will be reflected in later editions and credited appropriately. My email address is: <[email protected]>. Glasgow, 13 August 2014 iv Acknowledgements This work would not have been possible without the active support and contributions of a number of individuals and institutions. A Small Grant from the Carnegie Trust for the Universities of Scotland provided the funding for an initial trip to the Paul Sacher Stiftung Basel (hereafter PSS) to inspect the early and late work collected in the Mauricio Kagel Collection (Sammlung Mauricio Kagel, hereafter SMK). The project itself, including another, more extended, stay at the PSS, was financed with a British Academy/Leverhulme Small Grant. My co-investigator Luk Vaes and project partner Martin Iddon provided vital advice and support, including acting as sounding boards, throughout. I am particularly pleased about the formation of what I would like to call an informal Mauricio Kagel Research Network, who