Cover

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Title Page, Copyright

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pp. i-vii

Contents

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pp. viii-ix

List of examples

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pp. x-xiv

List of plates and figures

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pp. xv-xvii

List of tables

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p. xviii

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Acknowledgements

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p. xix

The editors of this book would like to sincerely thank the Faculty of Fine Arts and the Department of Music of the University of Calgary, and the Institute for...

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Introduction

FRIEDEMANN SALLIS

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pp. 1-26

This book brings together essays that examine how ideas of place and identity impinge on the creation, analysis, and interpretation of twentiethcentury art music. These are not new topics. On the contrary, they have been much...

FIRST WORD

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1. István Anhalt: A Character Sketch

JOHN BECKWITH

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pp. 29-36

As secretary of the newly formed Canadian League of Composers in the mid-1950s, I made several trips to Montreal in order to meet with colleagues there. On one of these...

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2. Kurtág, as I Know Him

GERGELY SZOKOLAY

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pp. 37-44

Gyuribácsi, the way many Hungarian musicians of my generation call Kurtág, is my godfather, a close friend of the family.1 My father, Sándor Szokolay, studied composition together with Kurtág in Ferenc Farkas’s class at...

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3. “A Kind of Musical Autobiography”: Reading Traces in Sándor Veress’s Orbis tonorum

CLAUDIO VERESS

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pp. 45-54

One of my father’s last completed compositions, Orbis tonorum for chamber ensemble, was premiered in the “Grosser Saal” of the Bern Conservatory on 9 November 1986. The work’s title consciously plays with a reference...

PLACE AND DISPLACEMENT

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4. Of the Centre, Periphery; Exile, Liberation; Home and the Self

ISTVÁN ANHALT

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pp. 57-72

I would like to begin by expressing my thanks to all who are present, to those who will participate as speakers and/or performers, and to those who will listen to them. I am also signalling my deep appreciation to Dr. Friedemann...

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5. István Anhalt’s Kingston Triptych

ROBIN ELLIOTT

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pp. 73-88

István Anhalt moved to Kingston in 1971 at the age of 52.2 His reputation as a heavyweight composer of challenging new music preceded him, but in Kingston his compositional idiom would change dramatically. It is arguable that this change was due, at least in part...

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6. István Anhalt’s The Tents of Abraham: Where Music Cannot Heal, Let It Be Restored

WILLIAM BENJAMIN

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pp. 89-110

The Tents of Abraham (2003) is the middle work in István Anhalt’s second orchestral triptych.1 The first of these work-series, dating from the mid- to late 1980s, deals with the role of episodic (personal-life) memory...

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7. Which Displacement? Tracing Exile in the Postwar Compositions of István Anhalt and Mátyás Seiber

FLORIAN SCHEDING

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pp. 111-128

Ever since the Egyptian Danaïdes arrived in Argos—quite possibly the first “foreigners to emerge at the dawn of our civilisation”1 according to Julia Kristeva—migration has captured the human imagination. Indeed, the very...

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8. Letters to America

RACHEL BECKLES WILLSON

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pp. 129-174

When asked during the 1980s whether he might consider leaving Switzerland and returning to the land of his birth, Sándor Veress replied in the negative, and explained himself by stating that he was a “member of the Hungarian emigration.”1 The claim is not unambiguous: on the one hand it suggests...

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9. Roots and Routes: Travel and Translation in István Anhalt’s Operas

GORDON E. SMITH

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pp. 175-198

“Centres and Peripheries, Roots and Exile”—the themes of this conference on the music of István Anhalt and György Kurtág— evoke significant...

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10. Le fonds István-Anhalt (MUS 164) à Bibliothèque et Archives Canada: auto-construction du compositeur et rôle du lieu dans son œuvre

RACHELLE CHIASSON-TAYLOR

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pp. 199-216

Le fonds István-Anhalt (mus 164) conservé à Bibliothèque et Archives Canada (BAC) est une source primaire privilégiée pour l’étude des différentes facettes de la vie personnelle et professionnelle du compositeur, et il permet de...

PERSPECTIVES ON RECEPTION, ANALYSIS, AND INTERPRETATION

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11. Sewing Earth to Sky: István Anhalt and the Pedagogy of Transformation

AUSTIN CLARKSON

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pp. 219-240

As composer, author, scholar, and educator, István Anhalt has amply demonstrated how the creative and the receptive interflow in a continuous process of renewal. He is as concerned with the relationship between the...

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12. György Kurtág’s Játékok: A “Voyage” into the Child’s Musical

STEFANO MELIS

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pp. 241-264

The title of this chapter1 refers to the fascinating metaphor of a “voyage of discovery” that György Kurtág used to describe the pedagogical and aesthetic essence of his...

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13. Arracher la figure au figuratif: la musique vocale de György Kurtág

ALVARO OVIEDO

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pp. 265-278

György Kurtág excelle dans la création d’images musicales dans son oeuvre vocale. Nombreux sont les traits de son écriture qui permettent un tel jaillissement d’images : le caractère aphoristique d’une grande partie de...

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14. Dirges and Ditties: György Kurtág’s Latest Settings of Poetry by Anna Akhmatova

JULIA GALIEVA-SZOKOLAY

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pp. 279-302

György Kurtág’ s interest in languages is evident in the wide array of verbal sources he has used in his work. Texts, titles, and mottoes in Hungarian, German, French, English, Italian, Russian, ancient Greek, and, more recently, Romanian appear in...

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15. Interpreting György Kurtág and George Crumb: Through the Looking Glass

DINA LENTSNER

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pp. 303-324

This essay is interpretive in its essence. Even its first sentence, if hypothetically considered a poetic work, may be structurally interpreted: the two outer words, “essay” and “essence” are at the periphery of the sentence’s construction...

THE PRESENCE OF THE PAST AND MEMORY IN CONTEMPORARY MUSIC

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16. György Kurtág et Walter Benjamin: considérations sur l’aura dans la musique

JEAN-PAUL OLIVE

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pp. 327-344

Dans Le style et l’idée, au cours d’un texte traitant de théorie et de composition musicales, Schoenberg en arrive à se poser une question qui, sous sa naïveté apparente, soulève pourtant une infinité de problèmes : « Qu’estce qui permet...

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17. What Presence of the Past? Artistic Autobiography in György Kurtág’s Music

ULRICH MOSCH

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pp. 345-370

Kurtág’s compositions, as is well known, are noteworthy for their many intertextual relationships, both within his own works and between his many pieces based on music by other composers. To varying degrees, and in different ways...

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18. “Listening to inner voices”: István Anhalt’s Sonance∙Resonance (Welche Töne?)

ALAN GILLMOR

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pp. 371-394

Near the end of December 1988, István Anhalt received a commission from the symphony orchestras of Toronto, Montreal, and Calgary for a new orchestral work. It received its premiere at the opening concert of the 1989–90 Toronto...

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19. Music Written from Memory in the Late Work of István Anhalt

FRIEDEMANN SALLIS

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pp. 395-420

Between early 2005 and late 2007, István Anhalt composed Four Portraits from Memory, his most recent composition and a moving work, representative of the stylistic and technical tendencies that have marked his creative output for the...

FINAL WORD

20. On Doubleness and Life in Canada: An Interview with István Anhalt

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pp. 423-432

THE CONTRIBUTORS

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pp. 433-438

INDEX

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pp. 439-461

Back Cover

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pp. 462-462