By Friedemann Sallis, Robin Elliott, Kenneth DeLong
This e-book examines the impression position and displacement could have at the composition and interpretation of Western paintings track, utilizing as its fundamental gadgets of analysis the paintings of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). even though all 3 composers are of Hungarian beginning, their careers noticeably assorted 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 rare impression within the cultural environments during which their paintings happened.
within the first part, “Place and Displacement,” individuals learn what occurs while composers and their song migrate within the culturally advanced global of the overdue 20th century. The previous 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, even though, no longer all composers who to migrate can be understood as exiles. the 1st chapters of this publication discover a number 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 trainer to undergo at the item of research. Like Kodály, Kurtág considers his paintings to be “naturally” embedded in Hungarian tradition, yet he's additionally a quintessentially eu artist. a lot of his production—he is without doubt one of the 20th century’s such a lot prolific composers of vocal music—involves the environment of Hungarian texts, yet within the overdue Seventies his cultural horizons accelerated to incorporate texts in Russian, German, French, English, and historic Greek. The ebook explores how musicologists’ divergent cultural views impinge at the interpretation of this paintings.
the ultimate part, “The Presence of the previous and reminiscence in modern Music,” examines the influence time and reminiscence may have on notions of position and id in song. All dwelling artwork faucets into the private and collective prior in a single means or one other. the ultimate 4 chapters test features of this courting.
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Additional resources for Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
Edited by Doris Lanz and Anselm Gerhard. Schweizer Beiträge zur Musikforschung Vol. 11. Edited by Anselm Gerhard, HansJoachim Hinrichsen, Laurenz Lütteken and Klaus Pietschmann, 159–71. Kassel: Bärenreiter, 2008. ———. ” In Remembering Ligeti, edited by Louise Ducheneau and Wolfgang Marx. Suffolk: Boyden and Brewer, forthcoming. introduction , sallis Schoenberg, Arnold. Style and Idea. Edited by Leonard Stein. Translated by Leo Black. Berkeley: University of California Press, 1984. Schubert, Giselher.
41 (1997–2008), for soprano and ensemble and shows how sensitive it is to the complex layers of cultural meaning embedded in these texts. In her detailed analysis of prosody in selected songs from Scenes from a Novel, Op. 19 (1979–82), for soprano, violin, cimbalom, and double bass, Dina Lentsner seeks to dissolve the boundary between music and poetry. In so doing she identifies what she believes to be the true centre of Kurtág’s work. Lentsner applies structuralist principles taken from Yuri Lotman’s literary theory to this music and reveals Kurtág’s remarkable sensitivity to the linguistic nuances of the texts he has chosen to set.
In Remembering Ligeti, edited by Louise Ducheneau and Wolfgang Marx. Suffolk: Boyden and Brewer, forthcoming. introduction , sallis Schoenberg, Arnold. Style and Idea. Edited by Leonard Stein. Translated by Leo Black. Berkeley: University of California Press, 1984. 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.
Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress by Friedemann Sallis, Robin Elliott, Kenneth DeLong