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Herbert Kegel

Known in america primarily because the conductor of the surefire documenting of Orff’s Carmina Burana, Herbert Kegel was respected in Europe being a pivotal body in building the functions of such specific Modernists as Blacher, Dallapiccola, Dessau, Penderecki, and Nono within the concert hall and in discs. He was among the initial to champ Britten’s Battle Requiem, while his documenting of Schoenberg’s Moses und Aron was instrumental to keep this tough and challenging function before the open public. His participation with Orff’s music typifies the duality of the distinguished profession whose impact isn’t yet fully valued and whose legacy continues to be to become assimilated, for next to the ever-popular Carmina Burana, Kegel also documented — superbly — the rest of the cantatas, Catulli Carmina and Trionfo di Afrodite, speech-inflected functions the composer thought to be parts of an individual routine of Trionfi which look forward to the uncompromising utterance of his Antigonae and Oedipus der Tyrann. Kegel examined on the Dresden Conservatory, where Karl Böhm was one of is own instructors, from 1935 to 1940, starting his profession, after serving being a conscript through the battle in 1946, as kapellmeister from the Volkstheater Rostock. From 1949 to 1978 he was from the Leipzig Radio Orchestra & Choir, getting choirmaster, music movie director, and primary conductor of the fantastic Radio Orchestra and Radio Choir in 1953. He became primary conductor from the Leipzig Symphony Orchestra & Choir in 1960. In 1977 he was called principal conductor from the Dresden Philharmonic, a post he kept until 1985. From 1985 until his loss of life he frequently made an appearance as visitor conductor in the Dresden and Leipzig opera homes, the Staatsoper Berlin, as well as the NHK Orchestra, Tokyo. Teaching engagements included a professorship using the Mendelssohn Bartholdy Hochschule für Musik in Leipzig from 1975 until 1978, along with a Dresden expert course in 1980. Kegel’s understand extended on the regular repertoire, from Bach to Stravinsky, though his middle appealing revolved round the German Romantics, Bruckner and Mahler specifically, as well as the Modernists, great and minimal — Hartmann, Honegger, or Theodorakis a minimum of Bartók, Berg, and Hindemith — using a smattering of such market pleasers as Carmen and Margarethe (that’s, Gounod’s Faust for German viewers). Many recordings — including Carmina Burana and Mahler’s Symphony No. 4 — feature recognized solo function by Kegel’s second wife, soprano Celestina Casapietra. His way was without affectation or grandiosity, rhythmically alert and lyrically poised, generally efficient and frequently inspired. He dedicated suicide in Dresden on November 20, 1990.

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