By Friedemann Sallis, Robin Elliott, Kenneth DeLong
This booklet examines the impression position and displacement could have at the composition and interpretation of Western artwork track, utilizing as its fundamental gadgets of research the paintings of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). even if all 3 composers are of Hungarian foundation, their careers extensively various paths. while, Kurtág remained in Budapest for many of his profession, Anhalt and Veress left: the previous in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All 3 composers have had a unprecedented influence within the cultural environments in which their paintings came about.
within the first part, “Place and Displacement,” individuals learn what occurs while composers and their track migrate within the culturally advanced international of the overdue 20th century. The earlier 100 years produced checklist numbers of refugees, and this truth is now starting to resonate within the examine of track. As Anhalt himself forcefully asserts, besides the fact that, no longer all composers who to migrate will be understood as exiles. the 1st chapters of this ebook discover many of the difficulties and questions surrounding this factor.
Essays within the moment part, “Perspectives on Reception, research, and Interpretation,” examine how appearing acts of interpretation on song implies bringing the time, position, and identification of the musician, the analyst, and the instructor to endure at the item of research. Like Kodály, Kurtág considers his paintings to be “naturally” embedded in Hungarian tradition, yet he's additionally a quintessentially ecu artist. a lot of his production—he is likely one of the 20th century’s so much prolific composers of vocal music—involves the surroundings of Hungarian texts, yet within the past due Seventies his cultural horizons multiplied to incorporate texts in Russian, German, French, English, and old Greek. The ebook explores how musicologists’ divergent cultural views impinge at the interpretation of this paintings.
the ultimate part, “The Presence of the earlier and reminiscence in modern Music,” examines the effect time and reminiscence could have on notions of position and identification in track. All residing paintings faucets into the private and collective prior in a single method or one other. the ultimate 4 chapters check features of this dating.
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Extra info for Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
Caron, Sylvain and Michel Duchesneau, eds. Musique, art et religion dans l’entredeux-guerres. Lyon: Symétrie, 2009. Dahlhaus, Carl. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittal. Berkeley: University of California Press, 1980. ———. ” Die Musik der fünfziger Jahre. Versuch einer Revision. Edited by Carl Dahlhaus, Veröffentlichung des Instituts für Neue Musik und Musikerziehung, Vol. 26, 9–20. Mainz: Schott, 1985. ———. Nineteenth-Century Music.
1) The Early Decades of the Twentieth Century,” Tempo 35 (1955): 30. 37 For more on this aspect of Kurtág’s career, see Rachel Beckles Willson, Ligeti, Kurtág and Hungarian Music during the Cold War (Cambridge and New York: Cambridge University Press, 2007), 127–62. 38 Varga, “A Brief Biography of György Kurtág,” 115. 39 The Saint Lawrence River originates at the outflow of Lake Ontario between Kingston, Ontario, on the north bank, and Cape Vincent, New York, on the south bank. 40 Umberto Eco, The Aesthetics of Chaosmos: The Middle Ages of James Joyce, trans.
Schubert, Giselher. ” In Music and Nazism: Art under Tyranny, 1933–1945, edited by Michael H. Kater and Albrecht Riethmüller, 64–74. Laaber: Laaber Verlag, 2003. Strohm, Reinhard. ” In Companion to Medieval and Renaissance Music, edited by Tess Knighton and David Fallows, 55–59. Berkeley: University of California Press, 1992. Varga, Bálint András. ” György Kurtág: Three Interviews and Ligeti Homages. Compiled and edited by Bálint András Varga, 115–16. Rochester: University of Rochester Press, 2009.
Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress by Friedemann Sallis, Robin Elliott, Kenneth DeLong