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Centre and Periphery, Roots and Exile - Interpreting the Music of Istvan Anhalt, Gyoergy Kurtag, and Sandor Veress (Paperback)
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Centre and Periphery, Roots and Exile - Interpreting the Music of Istvan Anhalt, Gyoergy Kurtag, and Sandor Veress (Paperback)
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This book examines the impact place and displacement can have on
the composition and interpretation of Western art music, using as
its primary objects of study the work of Istvan Anhalt (1919-2012),
Gyoergy Kurtag (1926-), and Sandor Veress (1907-92). Although all
three composers are of Hungarian origin, their careers followed
radically different paths. Whereas, Kurtag remained in Budapest for
most of his career, Anhalt and Veress left: the former in 1946 and
immigrated to Canada and the latter in 1948 and settled in
Switzerland. All three composers have had an extraordinary impact
in the cultural environments within which their work took place. In
the first section, ""Place and Displacement,"" contributors examine
what happens when composers and their music migrate in the
culturally complex world of the late twentieth century. The past
one hundred years produced record numbers of refugees, and this
fact is now beginning to resonate in the study of music. As Anhalt
himself forcefully asserts, however, not all composers who emigrate
should be understood as exiles. The first chapters of this book
explore some of the problems and questions surrounding this issue.
Essays in the second section, ""Perspectives on Reception,
Analysis, and Interpretation,"" look at how performing acts of
interpretation on music implies bringing the time, place, and
identity of the musician, the analyst, and the teacher to bear on
the object of study. Like Kodaly, Kurtag considers his work to be
""naturally"" embedded in Hungarian culture, but he is also a
quintessentially European artist. Much of his production - he is
one of the twentieth century's most prolific composers of vocal
music - involves the setting of Hungarian texts, but in the late
1970s his cultural horizons expanded to include texts in Russian,
German, French, English, and ancient Greek. The book explores how
musicologists' divergent cultural perspectives impinge on the
interpretation of this work. The final section, ""The Presence of
the Past and Memory in Contemporary Music,"" examines the impact
time and memory can have on notions of place and identity in music.
All living art taps into the personal and collective past in one
way or another. The final four chapters look at various aspects of
this relationship.
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