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  • Kagel: Pan, String Quartets I, II, and III
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Kagel: Pan, String Quartets I, II, and III

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Audio CD, December 8, 1994
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Editorial Reviews

The Arditti Quartet gives ebullient performances of enfant terrible Mauricio Kagel's first three quartets--or is it two? Always rocking the boat, Kagel titles his first quartet(s) Streichquartett I/II (1965-67). Here he explores noise as the bridgework between I and II. The Ardittis separate the double quartet with a short piece (1985) for piccolo and string quartet. The third quartet (1987) fills half of the CD. Kagel embraces tradition through a plethora of radical musings. Rather than bludgeoning tradition with noise, he teases, exploits, pushes, and ultimately extends it, using the standard sound palette throughout. This exploration of structure, speech imitation, melody, harmony, and rhythm will reward many listenings. --Robert Reigle

1. Str Qt I
2. Pan
3. Str Qt II
4. Str Qt III: I. Andante
5. Str Qt III: II. Andantino
6. Str Qt III: III. Allegretto
7. Str Qt III: IV. Allegro

Product Details

  • Performer: Mauricio Kagel, Arditti String Quartet, Dietmar Wiesner
  • Audio CD (December 8, 1994)
  • Label: Naive Montaigne (Fra)
  • ASIN: B000003VRT
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #1,713,539 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Paco Yáñez on June 5, 2006
Format: Audio CD
Another outstanding CD in the magnificent Arditti series in the French label Montaigne. This time they bring together the three quartets by the Argentinian composer Mauricio Kagel, joining too Pan, a brief piece for piccolo and strings.

I have to say I really love Quartets number 1 and 2, from 1965-67, and I'm not so enthusiastic about Pan and the Third Quartet, much more tonal, melodic and conventional. I really prefer Kagel very radical time in the `60s, when he joined the central Europe vanguard music, with Stockhausen, Ligeti, Nono, Maderna, Lachenmann... one of my favourites music periods of all time. Those two early quartets are typical music from their time, full of dissonances, of col legno, tremolo, pizzicato, and all the complex techniques that was `classical' in that contemporary music. Very direct, it's music to hear carefully and paying full attention to the inner structure and sound effects. It demands very much on the listener, but it's good enough if try it.

Outstanding recordings and what could I say about the performances, specially quartets 1 & 2, simply perfect!!! The typical pieces the Arditti Quartet play perfectly.

A classics from our time.
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2 of 2 people found the following review helpful By scarecrow VINE VOICE on March 25, 2005
Format: Audio CD
What seems to guide to preserve Kagel's music is his imagination,his affinity for spectacle and performance art, theatre, and the interesting gestures that reside within that lifeworld. The early Sixties Quartet doens't necessarily reveal this for Kagel yet.although he has laways spokened with an original voice,but here was locked still "in-dialogue" with his brethren the post war generation, all fascinated by the relative power mysteries the complexity of timbre. He also has a wonderful extended 'Sextett' for strings.

But "noise" is an academic term, for composers who merely assume no sound, no timbre no pitch or struke timbre to be a noise,is something else, how about "materials" for composition. This term then suggests that the composer is taking/transporting his/her materials on some voyage, some odyssey for bourgeois contemplation. These early quartets reveal wonderful timbres Am Steg, playing at the bridge, an eeery effect,snapping the styring against the fingerboard,plucked strings can be endless in their timbre, high positioned "plucked" are relatively less resonant more percussive. Harmonics as well, slowly descending fingernails on the chalkboard to some, to others these are beautifully threadbare creations.

As we proceed into the Eighties the concept of the 'accessible' came to the post-war avant-garde,the "gravitas" evaporated for the agenda of Late Capital as Mandel said; and for Kagel with his penchance for popular forms the performative, it was almost like he was waiting for this, like a merchant ship filled with "timbral" spices and aromas coming into port at Hamburg or Lubeck.
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1 of 1 people found the following review helpful By Paulo De T. Cambraia on October 29, 2001
Someone may be shocked by this aparent Kagel's turning to tonal music, mainly by hearing his third string quartet. But we have to bear in mind that music today can use equally both tonal and/or atonal languages because there's no more compromising to be an up-to-date composer as in the seventies.
The world changed and there is no space to excludent thoughts and no hegemony of any musical tendency. THanks God, Kagel is free for doing a really beautiful and emotional music.
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