Born in Buenos Aires in 1931 into a polyglot Argentine-Jewish family with strongly leftist political views, he studied theory, singing, conducting, piano, cello and organ with private teachers, but as a composer was self-taught. At the University of Buenos Aires, where Jorge Luis Borges was among his lecturers, Kagel studied philosophy and literature. In 1949 he became artistic advisor to the Agrupaci-n Nueva Música of Buenos Aires. He began composing in 1950, seeking musical ideas that opposed the neoclassical style dictated by the Per-n government. After an unsuccessful attempt to establish an electronic studio, in 1955 he became choirmaster and coach at the Teatro Col-n.
In 1957 he went to Germany on a daad (Deutscher Akademischer Austauschdienst) student grant, settled in Cologne, and became immediately and permanently involved in the contemporary music network as a member of the so-called second generation' of Darmstadt composers.
He participated in the Darmstadt summer courses (from 1958), where he later lectured (1960-66, 1972-76). He was also a conductor of Rheinland Kammer Orchester (1957-61). Between 1961 and 1965 he made several concert and lecture tours in the USA. In 1969 he was named director of the Institute of New Music at the Rheinische Musikhochschule in Cologne and, as a Stockhausen's successor, of the Cologne courses in new music (until 1975). In 1974 he became professor of new music theatre at the Musikhochschule in Cologne. Kagel was one of the founders of the Ensemble for New Music in Cologne and has worked at the electronic studios in Cologne, Berlin and Utrecht. He continues to conduct many of his works and directs and produces all of his own films and radio plays.

Selected works (since 1980): Aus Deutschland, opera in 27 scenes (1977/80), Finale for chamber orchestra (1981), La trahison orale, musical epic about the devil (1981), Fürst Igor, Strawinsky for bass and instruments (1982), Rrrrrr..., eleven pieces for wind instruments, double-basses and percussion; seven pieces for mixed choir; four pieces for solo voice; eight pieces for organ; six percussion duos; five jazz pieces (1982); Szenario for strings and tape (1982), Intermezzo for voices and instruments (1983), nach einer Lektüre von Orwell, radio-play in meta-German (1983), Tanz-Schule, ballet of action (1985), Trio for Violin, Cello and Piano (1985), Sankt-Bach-Passion for narrator, solo voices, speaking choirs, boys' choir and orchestra (1985), Ein Brief, concert scene for mezzo soprano and orchestra (1986), Mitternachtsstück for voices and instruments (1986), Music for Keyboard Instruments and Orchestra (1988), Quodlibet for female voice and orchestra (1988), Phantasiestück (1988), Les idŽes fixes, rondo for orchestra (1989), Fragmente Ode for double choir, wind instruments and percussion (1989), Zwei Akte, Grand Duo for saxophone and harp (1989), Liturgien for solo voices, two choirs and large orchestra (1990), Opus 1.991 for orchestra (1990), Die Stücke der Windrose for salon orchestra (Osten - 1989, Süden - 1989, Südosten - 1991, Nordosten - 1990, Nordwesten - 1991); 24.12.1931 for voice, loudspeakers and orchestra (1991), Konzertstück for timpani and orchestra (1992).

Atem. A retired musician devotes himself over a long time to the study of the same piece, while also being obsessed with the maintenance of his instrument. He perseveres until a very sweet phrase is finally played and frees him for ever.
Mauricio Kagel