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Paul Attinello

composed separately on cards and put together in a relatively formal or informal manner to create the whole. The most important and extended example of this compositional technique is Staatstheater ( 1967–70 ), Kagel’s first opera and one of his most sharply anti-institutional works. He described the work as ‘not just the negation of opera, but of the whole tradition of music theatre’. Each of its nine sections involves performers – soloists, chorus members, dancers and players – in a set of actions that subverts the normal performance hierarchy: members of the chorus