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Ligeti, Kurtág, and Hungarian music during the cold war / Rachel Beckles Willson

Av:

Willson, Rachel Beckles

Serie: Music in the twentieth century ; 23Utgivning: Cambridge : Cambridge University Press, 2007Beskrivning: 282 s. : musiknoterISBN:

0-521-82733-7
978-0-521-82733-1

Ämne:

DDK-klassifikation:

780.9 22 (machine generated)

SAB-klassifikation:

Ijb-fc.55
Ij:oa
Ijz Ligeti, György
Ijz Kurtág, György

Innehåll:

Part I: After 1920: on land, language and music ; After 1945 : a new empire forms -- Part II: After 1956 : the parting of ways ; After 1968: Budapest, Kurtág, and events ; After 'The West' : Ligeti looks back ; After Budapest : out of Hungary? -- Epilogue: On 'Hungary', and (our) longing for Moscow

Sammanfattning: Drawing on key elements from musical thought in interwar Hungary, this book provides a new perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurtag's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader music life of Budapest: it was an idealised symbol of life beyond the everyday in Hungary

Holdings ( 1 )
Title notes ( 2 )

Holdings
Item type	Current library	Call number	Copy number	Status	Barcode
Book	Musik- och teaterbiblioteket Magasin A	B25.693	1	Available	26201811836

Total holds: 0

Drawing on key elements from musical thought in interwar Hungary, this book provides a new perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurtag's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader music life of Budapest: it was an idealised symbol of life beyond the everyday in Hungary