Non fatevi ingannare dal titolo, non è musica antica. Questo, invece, è uno dei miei brani preferiti nella produzione di Mauricio Kagel. Forse anche uno dei più eversivi perché qui il compositore trae sonorità inaudite da un corpus strumentale, quello della musica antica, che nessuno aveva stravolto fino a questo punto.

In realtà avevo già pubblicato questo brano del 1965/66 senza alcun commento in occasione dell’epitaffio del suo autore, ma oggi lo ripropongo alla vostra attenzione, corredato dalle note dello stesso Kagel:

This work contains neither prediction, pointers to the future, nor a comforting return to the past: the use of Renaissance instruments here has no programmatic purpose in any general sense. The only decisive fact is that these instruments correspond to my tonal concept better than any present-day stringed and wind instruments could.

The systematic alienation of conventional instrumental sound, which comes into its own in the material and methods of the most modem music, seemed to me to justify an attempt, for once, to reverse the normally accepted view on the subject of the composition of tone colour. The individual quality of restraint which belongs to the nature of these Renaissance instruments made it all the easier for me to introduce each of them in its own unadulterated tonal character. While still a student of musicology in Argentina I began to sketch a similar piece, but I dropped the project at that time, since one of the essential conditions for bringing the idea to fruition-the formation of a truly orchestral ensemble of early instruments-could not then be fulfilled. In the renaissance of the Renaissance which we are now experiencing such an ensemble has become feasible, because copies of most of the instruments have recently been made, and numerous musicians have become proficient in playing them.

Only the formation of complete families of typical instruments, played by 23 musicians, could produce a sound picture true to the period in question. All the Renaissance instruments required for my composition were represented in the Theatrum Instrumentorum of the “Syntagma Musicum” by Michael Praetorius (1619). During recent years I have become so familiar with each of the instruments used that I could think out its tonal function afresh, and have been able to develop the performing techniques beyond the conventional limits. Even an instrument such as the recorder, which is closely associated with home and school music making of a very different kind, proved to be extremely versatile, and more suitable for use in new instrumental music than, for example, the transverse flute.

Each instrumental part of this work was composed like a solo line. However, the parts were put together as a full score, written in more or less normal notation. Other versions of the work are also possible, using any number of players from two to twenty-two, in every combination of instruments drawn from the original scoring. These reduced versions are entitled “Chamber Music for Renaissance Instruments”. The concept of an ad hoc orchestra made up of whatever instruments are available–in accordance with the performing practice of the Renaissance period–is here taken literally, so that a degree of variation is possible which cannot be foreseen by the composer. This work (1965/66) was written in memoriam Claudio Monteverdi. Nevertheless it contains no collages of old music.

Mauricio Kagel – Music for Renaissance Instruments (1965/66)
Collegium instrumentale, conducted by Mauricio Kagel
Il brano è scaricabile in formato flac dall’AGP40.

UBUWeb ha messo in linea una serie di film di Mauricio Kagel. Li trovate qui

Nel frattempo, ho trovato su YouTube questa esecuzione di Exotica (1971-1972), una composizione in cui sei esecutori di tradizione e cultura europea sono costretti a confrontarsi con musica e cultura extra-europea. In Exotica gli esecutori non sanno suonare gli strumenti che si trovano a maneggiare (almeno 10) perché provengono tutti da culture non europee. Proprio per questo la partitura prescrive essenzialmente durate e dinamiche, mentre la linea melodica è generalmente una monodia oppure si limita a intervalli vicini.

La partitura impone anche di cantare, a volte emettendo suoni più o meno snaturati. La voce è una parte molto importante del brano, tanto che, nei punti in cui un interprete sia impossibilitato ad eseguire insieme le parti strumentali e vocali, quest’ultima è prioritaria.

Esistono inoltre 12 nastri su cui è incisa autentica musica extra-europea, che gli esecutori devono imitare con un grado di accuratezza variabile, prescritto in partitura per i vari parametri.

Performer — Christoph Caskel, Michel Portal, Siegfried Palm, Theodor Ross, Vinko Globokar, Wilhelm Bruck.

Questa immagine vi dà un’idea di come erano conciati gli esecutori alla prima esecuzione

In questo podcast, dopo una breve presentazione, potete ascoltare Kagel che commenta, in inglese, il suo brano Anagrama del 1957-58, per soli, coro e ensemble, basato sul famoso palindromo In girum imus nocte et consumimur igni. Segue poi l’esecuzione dell’opera e al termine, Kagel risponde a domande di Pauline Oliveros, Ramon Sender, e Will Ogdon.

Il podcast proviene dalla stazione radio KPFA. Registrato nel 1963, è attualmente disponibile sull’Internet Archive, da cui è ascoltabile e scaricabile in MP3 a questo link.

Anagrama, for four soloists, speaking chorus, and chamber ensemble (1957/1958).

Per gli interessati ecco delle note al brano, in inglese, tratte dalla vecchia e non più disponibile edizione:

The composition “Anagrama” for four solo voices, speaking chorus, and instruments, written between February 1957 and November 1958, after preparatory work in Argentina, was given its first performance at the ICMS Festival in Cologne on nth June 1960. Nearly all the speech elements and sounds are derived from the palindrome on gnats and moths (wrongly attributed to Dante):

In girum imus nocte et consumimur igni
(we circle in the night and are consumed by fire)

whose completely symmetrical structure is the equivalent of Webern’s late twelve-tone rows. This is not a superficial comparison, for this piece, constructed in five sections and in three levels, represents no less than an attempt to match in vocal music the standard of synthetic sound differentiation based on Webern’s work achieved in electronic music of that period. Of course, “Anagrama” at the same time also has its sources in completely different worlds, above all in Romanic- Manneristic Surrealism, but also in the Romantic-Universalistic spirit, which was obsessed with the idea that everything was connected with everything else. Kagel uses German, French, Italian, and Spanish; Latin is reserved for the palindrome, whose vocabulary of sounds (i, n, g, r, u, m, s, o, c, t, e) is extended by transposing the letters into acoustical terms; the c of consumimur, for example is mutated into a German k or a Spanish q (as in queso), the k in turn – together with s – provides the German x (as in Xylophon). It is not the meaning of the words, then, but their sound values which are the most essential part of all sound, word, and text composition here – most obviously so in what Kagel calls “acoustical translation”. Pure sound imitation produces from the palindrome a sentence like: “In giro immoto notte e quieto ingu” (p. 36, b. 15). In line with Kagel’s conception of lexica as the “summa summarum of all permuration systems”, most of the new words are formed out of more or less regular rearrangements of the palindrome syllables. From “rum”, for example, the words rumor (Sp.: rumour), rue (Fr.: street), Ruhe (G.: rest), Russe (G.: Russian), and rustre (Fr.: boorish) are derived, and there is an effortless development with about 30 intermediate steps from rime (Fr.: rhyme), ruinoso (Sp.: ruinous) or ripieno (It.: full) to Regung (G.: movement, emotion etc.), Regen (G.: rain) and requiem – partly via regular, partly via associative word production.

The sentences formed from the new words are superimposed, as in a palimpsest, to form absurd dialogues, as in, for example: “Quien teme?” (Sp.: whom do you fear?) – “Tiens, mon Seigneur, ecoute un cri rôti” (Fr.: Well, sir, hear a roast cry) – “Je suis innocent” (Fr.: I am innocent). Or they are vaguely related: “Ein Ritter sitzt im Griinen” (G.: A knight sits in the open – “ieri ricino” (It.: castor-oil yesterday) – “er summt in seinem Eisen” (G.: He hums in his iron) – “oggi riposo” (It.: closed today). In general, a lack of syntactical connection between parts of sentences, dense polyphony, and an additional darkening of the sound (by use of vocal clusters, for example), combine to make such speech compositions almost totally incomprehensible. The phonetically written vocal sounds, the counterpart of the diversity of forms in the “Streichsextett”, form a compendium of articulation methods, resembling electronic amplitude and frequency modulation. Pursing of the lips, breathy notes, nasalization, diverse vibrati, etc., create a rich spectrum of individual tone colours and transitions which before this composition had been restricted to electronic sound synthesis. The instrumental articulation is also alienated. Their sound spectra and the connection of the palindrome letters with certain pitches aims at the acoustical integration of speech and music. That this does not lead to any kind of mechanical rigidity, but on the contrary, contributes towards a multifarious and large-scale structure is already made clear by the fact that identical connections only recur after 12 (pitches) times 11 (letters) =132 notes. In fact the form of the work is an implied criticism of the rigid formal structures of serial music; its ideal is constant transition even in the smallest elements – a concept derived partly from painting, in particular from Klee’s “visual thought”. “Anagrama”, then, is a passing tableau of colours and relationships which half conceals an anagrammatic form of semantics deriving from spontaneous and intentional associations and which occasionally descends from the heights of serial rationality – as in a passage of extreme density and intensity on which Kagel comments: “If these creams should awaken in the listener an impression that these are injured, suffering persons, then the chorus is to be heartily congratulated.”
Werner Kluppelholz (Translation: John Bell)