Centre and Periphery, Roots and Exile

Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
Herausgeber: Sallis, Friedemann; DeLong, Kenneth; Elliott, Robin

• Gebundenes Buch

Produktbeschreibung

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919-) and György Kurtág (1926-), composers of Hungarian origin whose careers followed radically different paths.

Produktdetails

• Verlag: Wilfrid Laurier University Press
• Seitenzahl: 480
• Erscheinungstermin: 15. September 2011
• Englisch
• Abmessung: 231mm x 155mm x 33mm
• Gewicht: 726g
• ISBN-13: 9781554581481
• ISBN-10: 1554581486
• Artikelnr.: 26157679

Inhaltsangabe

Table of Contents for Centre and Periphery, Roots and Exile: Interpreting
the Music of István, György Kurtág, and Sándor Veress, edited by Friedemann
Sallis, Robin Elliott, and Kenneth DeLong
List of Examples
List of Plates and Figures
List of Tables
Acknowledgements
Introduction Friedemann Sallis
First Word
1 István Anhalt: A Character Sketch John Beckwith (University of Toronto)
2 Kurtág, as I Know Him Gergely Szokolay
3 "A Kind of Musical Autobiography": Reading Traces in Sándor Veress's
Orbis tonorum Claudio Veress
Place and Displacement
4 Of the Centre, Periphery; Exile, Liberation; Home and the Self István
Anhalt (Queen's University)
5 István Anhalt's Kingston Triptych Robin Elliott (University of Toronto)
6 István Anhalt's The Tents Of Abraham: Where Music Cannot Heal, Let It Be
Restored William Benjamin (University of British Columbia)
7 Which Displacement? Tracing Exile in the Postwar Compositions of István
Anhalt and Mátyás Seiber Florian Scheding (University of Southampton)
8 Letters to America Rachel Beckles Willson (Royal Holloway, University
of London)
9 Roots and Routes: Travel and Translation in István Anhalt's Operas
Gordon Smith (Queen's University)
10 Le fonds István Anhalt (MUS 164) à Bibliothéque et Archives Canada :
auto-construction du compositeur et rôle du lieu dans son oeuvre Rachelle
Chiasson-Taylor (Bibliothéque et archives Canada)
Perspectives on Reception, Analysis, and Interpretation
11 Sewing Earth to Sky: István Anhalt and the Pedagogy of Transformation
Austin Clarkson (York University)
12 György Kurtág's Játékok: A "Voyage" into the Child's Musical Mind
Stefano Melis (Conservatorio di musica "L. Canepa" di Sassari)
13 Arracher la figure au figuratif: la musique vocale de György Kurtág
Alvaro Oviedo (Université Paris 8, Vincennes Saint-Dénis)
14 Dirges and Ditties: György Kurtág's Latest Settings of Poetry by Anna
Akhmatova Julia Galieva-Szokolay (Royal Conservatory of Music, Toronto)
15 Interpreting György Kurtág and George Crumb: Through the Looking Glass
Dina Lentsner (Capital University, Columbus, Ohio)
The Presence of the Past and Memory in Contemporary Music
16 György Kurtág et Walter Benjamin : considérations sur l'aura dans la
musique Jean-Paul Olive (Université Paris 8, Vincennes Saint-Dénis)
17 What Presence of the Past? Artistic Autobiography in György Kurtág's
Music Ulrich Mosch (Paul Sacher Foundation)
18 "Listening to inner voices": István Anhalt's Sonance.Resonance (Welche
Töne?) Alan Gillmor (Carleton University)
19 Music Written from Memory in the Late Work of István Anhalt Friedemann
Sallis (University of Calgary)
Final Word
20 On Doubleness and Life in Canada: An Interview with István Anhalt
The Contributors
Index
CONTRIBUTORS' BIOS
István Anhalt, the dedicatee of this volume, was born in Budapest in 1919
and emigrated to Canada in 1949 to become a faculty member at McGill
University. He moved to Kingston in 1971, served as the head of the
Department of Music at Queen's University for ten years, and retired in
1984. A highly respected composer, theorist, and educator, he was made an
Officer of the Order of Canada in 2003 and a Fellow of the Royal Society of
Canada in 2007. He has produced a substantial body of scholarly and
creative work that speaks with force and eloquence about the contemporary
human condition. His list of compositions includes electrocoustic, vocal,
choral, instrumental, chamber, and orchestral music, and four large-scale
operatic works: La Tourangelle (1975), Winthrop (1986), Traces (Tikkun)
(1996), and Millennial Mall (1999). His life and music are the subject of
the book István Anhalt: Pathways and Memory (McGill-Queen's University
Press, 2001).
John Beckwith-composer, writer, and music educator-was associated from 1952
to 1990 with the Faculty of Music, University of Toronto, including periods
as its dean and as founding director of its Institute for Canadian Music.
Some of his later compositions appear on the Centrediscs CDs entitled
Avowals and Jalsaghar. He is the author of Music Papers: Articles and Talks
by a Canadian Composer 1961-1994 (1997) and Unheard-Of: Memoirs of a
Canadian Composer (Wilfrid Laurier University Press, forthcoming).
Rachel Beckles Willson is associate professor of music at Royal Holloway,
University of London. Her research on Eastern Europe and the sociology of
Western classical music has been published in two monographs and over
twenty book chapters and journal articles and has been presented at
conferences worldwide. Recently she has been based at the Humboldt
University in Berlin, supported by a Fellowship for Experienced Researchers
from the Alexander von Humboldt Foundation and writing her forthcoming
monograph, Orientalism and Musical Mission: The Case of Palestine.
A music theorist and composer, William Benjamin received a PhD in music
from Princeton and has taught at the University of British Columbia since
1978. He has published in leading theory journals and collective volumes
since the 1970s, with studies of works by several nineteenth- and
twentieth-century composers, critiques of present-day analytical method,
and contributions to the theories of harmony and meter. More recently, his
scholarly work has shifted to the intersection of music theory, cognition,
and aesthetics. At present, he is completing a book entitled Music in Our
Heads: Imagined Music as a Determinant of Musical Behaviour, Musical
Values, and Musical Culture.
Rachelle Chiasson-Taylor détient des doctorats en interprétation musicale
et en musicologie de l'Université McGill. Elle poursuit une carrière
internationale comme interprète et a enregistré trois CDs de musique
ancienne pour clavier chez ATMA. Elle enseigne l'histoire et la littérature
musicales à l'Université McGill et sa recherche est publiée au Canada, en
Belgique et au Royaume-Uni. Depuis 2002, elle travaille aussi comme
historienne et archiviste à Bibliothèque et Archives Canada.
Austin Clarkson, professor of music emeritus, York University, previously
held positions at the University of Saskatchewan, Columbia University
(where he was founding editor of Current Musicology), and Yale University.
As general editor of the music and writings of Stefan Wolpe, he has
produced many critical editions as well as On the Music of Stefan Wolpe:
Essays and Recollections (Pendragon) and special Wolpe issues for
Contemporary Music Review and Musik-Konzepte. He recently completed a
report on a program that he directs for
schoolchildren.www.austinclarkson.ca.
Kenneth DeLong is professor of music history at the University of Calgary.
His research interests principally concern nineteenth-century Czech and
English music, opera, and Liszt's piano music. Recent research activities
include a conference paper on Liszt's Il Penseroso for the Vienna
conference of the Word and Music Association, and articles on Schubert and
Vorísek for The Unknown Schubert and on Sullivan for Henry Irving, both
published by Ashgate Press. He is a correspondent and reviewer for Opera
Canada magazine and for thirty years has been the principal music critic
for The Calgary Herald.
Robin Elliott studied with István Anhalt at Queen's University in Kingston,
where he completed a B.Mus. degree in 1978. At the University of Toronto he
earned his PhD in musicology in 1990. From 1996 to 2002 he was a faculty
member at University College Dublin. He returned to the University of
Toronto as the Jean A. Chalmers Chair in Canadian Music in 2002 and was
appointed associate dean of the Faculty of Music in 2008.
Julia Galieva-Szokolay obtained her doctoral degree in musicology in 1995
at the Russian State Institute for Art Studies, Moscow. After moving to
Canada in 1996 she became a faculty member of the Royal Conservatory's
Glenn Gould School, in Toronto. Mrs. Galieva-Szokolay combines a teaching
career with academic research, specializing in music of Eastern and
East-Central Europe. She has published several articles on the works of
contemporary composers of Hungary and Russia.
Alan M. Gillmor was educated at the University of Michigan (B.Mus., MA) and
the University of Toronto (PhD). He taught at McGill University and
Carleton University, from which he retired in 2003 as professor emeritus.
Dr. Gillmor's scholarly publications have appeared in professional journals
both in North America and Europe, and his monograph on the French composer
Erik Satie (1988; 1990) was shortlisted in 1990 for the Ottawa- Carleton
Book Award for non-fiction. His most recent publications are Eagle Minds:
Selected Correspondence of István Anhalt & George Rochberg, 1961-2005
(Wilfrid Laurier University Press, 2007) and (with James K. Wright)
Schoenberg's Chamber Music, Schoenberg's World (Pendragon Press, 2009).
A native of St. Petersburg, Russia, Dina Lentsner received her PhD in music
theory from Ohio State University with dissertation on György Kurtág's
Scenes from a Novel, Op. 19. She is an associate professor of music
history, music theory, and composition at Capital University in Columbus,
Ohio. Dr. Lentsner's current research focuses on the interpretation of
music with text with the emphasis on contemporary music, "spirituality" in
music, and music history pedagogy.
Stefano Melis graduated in piano performance at the Conservatorio di Musica
of Sassari (1988) and in musicology at the Bologna University (1998). As a
pianist, he has recorded numerous CDs of contemporary music, notably of
works by Sardinian composers Franco Oppo and Antonio Doro. As a
musicologist, his research focuses on György Kurtág's music and music
pedagogy. Recent publications include "Játékok di György Kurtág. Il primo
apprendimento strumentale tra esplorazione, gioco e comprensione musicale"
(Il Saggiatore Musicale, 2005/1) and "Processus compositionnels et
compréhension musicale enfantine dans Játékok," in Gestes, fragments,
timbres: la musique de György Kurtág (L'Harmattan, 2008). He teaches music
theory at the Conservatorio di Musica "L. Canepa" of Sassari.
Ulrich Mosch studied music and German literature in Hannover and musicology
at the Technische Universität in Berlin (with Carl Dahlhaus). In 1991 he
graduated with a thesis on the aural perception of total serialism and in
2004 was appointed university lecturer (Habilitation) at the Paris Lodron
Universität in Salzburg, Austria. Since 1990 he has been a musicologist and
curator for music manuscripts at the Paul Sacher Foundation in Basel,
Switzerland, and is at present responsible for twenty-five collections of
manuscripts, among them documents from Igor Stravinsky, Luciano Berio, Hans
Werner Henze, Brian Ferneyhough, and György Kurtág.
Jean-Paul Olive est professeur au département de musicologie de
l'Université Paris 8 Vincennes-Saint-Denis où il enseigne l'analyse et
l'esthétique musicales et dirige le laboratoire "Esthétique, musicologie et
créations musicales". Il a écrit un ouvrage sur l'oeuvre d'Alban Berg (Le
tissage et le sens), un essai sur le montage en musique (Musique et
montage. Essai sur le matériau musical au début du XXe siècle) et plus
récemment un ouvrage sur les écrits musicaux d'Adorno (Un son désenchanté).
Il dirige la collection "Arts 8" et est cofondateur de la revue de
musicologie Filigrane.
Né à Córdoba, Argentine, Alvaro Oviedo termine son doctorat, portant sur le
geste dans la musique de György Kurtág et de Helmut Lachenmann, à
l'Université Paris 8 Vincennes-Saint-Denis. Il a publié des articles sur
l'oeuvre de ces deux compositeurs et collabore à la revue mexicaine La
Tempestad. Il donne actuellement des cours à l'Université Paris 8
Vincennes- Saint- Denis sur la musique vocale du XXe siècle.
Friedemann Sallis is professor at the University of Calgary. He obtained
his PhD in musicology under the direction of the late Carl Dahlhaus at the
Technische Universität Berlin. His writings include a book on the early
works of György Ligeti, the co-edition of A Handbook to Twentieth-Century
Musical Sketches (Cambridge University Press, 2004), and numerous articles
on twentieth-century music. He has received Fellowship Grants from the Paul
Sacher Foundation (Basel) and since 1997 he has been awarded five
consecutive research grants by the Social Sciences and Humanities Research
Council of Canada.
Florian Scheding is lecturer in music at the University of Southampton. He
has published articles on the composer Mátyás Seiber, film music, and
composers in exile during World War II. A collection of essays, Music and
Displacement: Diasporas, Mobilities and Dislocations in Europe and Beyond,
coedited with Erik Levi, was published in spring 2010 by Scarecrow Press in
the Europea series, edited by Martin Stokes and Philip V. Bohlman.
Gordon E. Smith is professor of ethnomusicology at Queen's University,
Kingston, Ontario. Formerly director of the School of Music, he is
associate dean in the Faculty of Arts and Science. Co-editor of Marius
Barbeau: Modelling Twentieth-Century Culture (2008), and Music Traditions,
Cultures, and Contexts (Wilfrid Laurier University Press, 2010), he is the
editor of MUSICultures, the Journal of the Canadian Society for Traditional
Music / La Société canadienne pour les traditions musicales. His current
research includes fieldwork in the Mi'kmaw community of Eskasoni, Cape
Breton Island, Nova Scotia.
Hungarian-born pianist Gergely Szokolay has performed both as a soloist and
chamber musician in Europe, North America, and Japan. Currently living in
Toronto, he balances a busy schedule of teaching and performing. Equally at
home in the vocal and instrumental repertoire, Mr. Szokolay has been
collaborative pianist for major festivals and master classes, working with
renowned pedagogues like Josef Gingold, Marcel Moyse, Aurèle Nicolet, János
Starker, Zoltán Székely, Paul Tortelier, and David Zafer.
Claudio Veress studied philosophy and German literature at Bern University
and teaches philosophy at a cantonal college. At the same time he is a
passionate chamber musician. Since 1992 he has been involved in the
scientific and editorial side of the legacy of Sándor Veress, whose chamber
music for strings forms one of his specific matters of concern as a
violinist and as a viola player.