By Friedemann Sallis, Robin Elliott, Kenneth DeLong
This ebook examines the impression position and displacement may have at the composition and interpretation of Western paintings tune, utilizing as its fundamental gadgets of analysis the paintings of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). even if all 3 composers are of Hungarian beginning, their careers considerably diverse 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,” participants learn what occurs while composers and their tune migrate within the culturally advanced international of the overdue 20th century. The earlier 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, despite the fact that, no longer all composers who to migrate could be understood as exiles. the 1st chapters of this booklet 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 track implies bringing the time, position, and id 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 ecu 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 atmosphere of Hungarian texts, yet within the overdue Seventies his cultural horizons increased to incorporate texts in Russian, German, French, English, and old Greek. The e-book 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 effect time and reminiscence could have on notions of position and id in tune. All dwelling artwork faucets into the non-public and collective earlier in a single means or one other. the ultimate 4 chapters examine features of this dating.
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Additional info for Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
Montreal and Kingston: McGill-Queen’s University Press, 2001. Gillmor, Allan, ed. Eagle Minds: Selected Correspondence of István Anhalt and George Rochberg, 1961–2005. Waterloo, ON: Wilfrid Laurier University Press, 2007. 2 My parents met at one of Kurtág’s Saturday gatherings, organized as an informal language and literature club. 5 Literature and poetry have always been intimately linked to Kurtág’s persona. Not surprisingly, my first encounter with him was also connected to literature. I think I might have been about five, when one afternoon Gyuribácsi came over to our place to read poems from a newly published, wonderfully illustrated children’s book.
Helmer, Paul. Growing with Canada: The Émigré Tradition in Canadian Music. Montreal and Kingston: McGill-Queen’s University Press, 2009. Hobsbawm, Eric. Age of Extremes: The Short Twentieth Century 1914–1991. London: Abacus, 1994. Hohmaier, Simone. ” In Sándor Veress. Komponist—Lehrer—Forscher. Edited by Doris Lanz and Anselm Gerhard. Schweizer Beiträge zur Musikforschung Vol. 11. Edited by Anselm Gerhard, Hans-Joachim Hinrichsen, Laurenz Lütteken and Klaus Pietschmann, 142–58. Kassel: Bärenreiter, 2008.
In his analysis, Melis shows how selected pieces from volume I of this collection can be interpreted as voyages into the child’s mind. This middle section ends with three analytical studies of Kurtág’s vocal music. Alvaro Oviedo takes a close look at the relationship between text and music and notes that in Kurtág’s compositions one encounters a balance of contradictory forces. Whereas madrigalisms or word painting are a consistent feature of these scores, the composer systematically destabilizes the musical figure at the very moment that it emerges, creating the fluid impression of suggested images that never really become manifest.