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Examines the reputation of the Hungarian musician Bela Bartok
(1881-1945) as an antifascist hero. This book examines the
reputation of the Hungarian composer Bela Bartok (1881-1945) as an
antifascist hero and beacon of freedom. Following Bartok's
reception in Italy from the early twentieth century, through
Mussolini's fascist regime, and into the early Cold War, Palazzetti
explores the connexions between music, politics and diplomacy. The
wider context of this study also offers glimpses into broader
themes such as fascist cultural policies, cultural resistance, and
the ambivalent political usage of modernist music. The book argues
that the 'Bartokian Wave' occurring in Italy after the Second World
War was the result of the fusion of the Bartok myth as the
'musician of freedom' and the Cold War narrative of an Italian
national regeneration. Italian-Hungarian diplomatic cooperation
during the interwar period had supported Bartok's success in Italy.
But, in spite of their political alliance, the cultural policies by
Europe's leading fascist regimes started to diverge over the years:
many composers proscribed in Nazi Germany were increasingly
performed in fascist Italy. In the early 1940s, the now exiled
composer came to represent one of the symbols of the anti-Nazi
cultural resistance in Italy and was canonised as 'the musician of
freedom'. Exile and death had transformed Bartok into a martyr,
just as the Resistenza and the catastrophe of war had redeemed
post-war Italy.
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