Drawing on key elements from musical thought in inter-war Hungary,
this 2007 book provides a unique perspective on the nation's
musical heritage both inside and outside Hungary's borders during
the Cold War. Although Ligeti became part of the Western
avant-garde after he left Hungary in 1956, archival sources
illuminate his ongoing contact with Hungarian musicians, and their
shifting perspective on his work. Kurtag's music was more obviously
involved with Hungarian traditions, was entangled with the Soviet
occupation, and was a contributing part of the city's diverse
musical culture. However, from the mid-1960s onwards, critics
identified his music as an artistic and moral 'truth' distinct from
the broader musical life of Budapest: it was an idealized symbol of
life beyond the everyday in Hungary. Grounding her interpretations
of works in these complex political circumstances, Beckles Willson
is nonetheless sympathetic to arguments by Ligeti, Kurtag and
Budapest music critics that their music might have a life beyond
nationalist and Cold War ideology.
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