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 significantly diversified paths. while, Kurtág remained in Budapest for many of his occupation, 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 effect 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 complicated global of the overdue 20th century. The earlier 100 years produced checklist numbers of refugees, and this truth is now commencing to resonate within the research of tune. As Anhalt himself forcefully asserts, although, no longer all composers who to migrate will be understood as exiles. the 1st chapters of this publication discover a few 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 id of the musician, the analyst, and the trainer 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 eu artist. a lot of his production—he is likely one of the 20th century’s such a lot prolific composers of vocal music—involves the surroundings of Hungarian texts, yet within the past due Nineteen Seventies his cultural horizons improved to incorporate texts in Russian, German, French, English, and historic Greek. The publication explores how musicologists’ divergent cultural views impinge at the interpretation of this paintings.
the ultimate part, “The Presence of the prior and reminiscence in modern Music,” examines the influence time and reminiscence may have on notions of position and id in song. All residing artwork faucets into the non-public and collective prior in a single method or one other. the ultimate 4 chapters test elements of this courting.
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Extra resources for Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
Nothing of significance was allowed to escape those penetrating eyes of his. For him, this wasn’t cultural tourism or dabbling, but the road to mastery—in-depth mastery. 29 30 first word One night in 1959 he rang me in great excitement. He had just come from conducting the dress rehearsal of his Symphony No. 1 and was bursting to tell me about it. He said it was one of the really high-level musical experiences of his life, and the animation in his voice confirmed this. I later learned that he had been so keyed up during rehearsals that he required emergency medical attention for a sore shoulder.
Kassel: Bärenreiter, 2008. Benjamin, Walter. Essays and Reflections. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 1969. Bernstein, David W. and Christopher Hatch, eds. Writings through John Cage’s Music, Poetry, and Art. Chicago: University of Chicago Press, 2001. Beveridge, David. ” Journal of Musicological Research 12 (1993): 303–25. Bhabha, Homi. The Location of Culture. New York: Routledge, 2006. Biddle, Ian and Vanessa Knights, eds. Music, National Identity and the Politics of Location: Between the Global and the Local.
I can recall one particular poem in detail, with his gestures, funny mimics, expressive movements, and his most serious involvement with the silly, yet multi-layered symbolist story in the poem. Kurtág managed to captivate me so deeply that the imprint of his presence has preserved its original freshness over fifty years later. 6 37 38 first word Example 2-1 Sándor Weöres, “Orbán,” Sándor Weöres and Amy Károlyi, Tarka forgó 120 vers az év tizenkét hónapjára [Coloured Windwheel: 120 poems for the twelve months of the year], with illustrations by Piroska Szántó (Budapest: Magveto1 Könyvkiadó, 1958), p.
Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress by Friedemann Sallis, Robin Elliott, Kenneth DeLong
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