Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress

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Introduction
Istvan Anhalt: A Character Sketch
Kurtag, as I Know Him
"A Kind of Musical Autobiography": Reading Traces in Sandor Veresss Orbis tonorum
Of the Centre, Periphery
Exile, Liberation
Home & the Self
Istvan Anhalts Kingston Triptych
Istvan Anhalts The Tents Of Abraham: Where Music Cannot Heal, Let It Be Restored
Which Displacement? Tracing Exile in the Postwar Compositions of Istvan Anhalt & Matyas Seiber
Letters to America
Roots & Routes: Travel & Translation in Istvan Anhalts Operas
Le fonds Istvan Anhalt (MUS 164) a Bibliotheque et Archives Canada : auto-construction du compositeur et role du lieu dans son oeuvre
Sewing Earth to Sky: Istvan Anhalt & the Pedagogy of Transformation
Gyoergy Kurtags Jatekok: A "Voyage" into the Childs Musical Mind
Arracher la figure au figuratif: la musique vocale de Gyoergy Kurtag
Dirges & Ditties: Gyoergy Kurtags Latest Settings of Poetry by Anna Akhmatova
Interpreting Gyoergy Kurtag & George Crumb: Through the Looking Glass
Gyoergy Kurtag et Walter Benjamin : considerations sur laura dans la musique
What Presence of the Past? Artistic Autobiography in Gyoergy Kurtags Music
"Listening to inner voices": Istvan Anhalts Sonance-Resonance (Welche Toene?)
Music Written from Memory in the Late Work of Istvan Anhalt
On Doubleness & Life in Canada: An Interview with Istvan Anhalt
Index.

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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 (1919-2012), György Kurtág (1926-), and Sándor Veress (1907-92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place.

In the first section, ""Place and Displacement,"" contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue.

Essays in the second section, ""Perspectives on Reception, Analysis, and Interpretation,"" look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be ""naturally"" embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production - he is one of the twentieth century's most prolific composers of vocal music - involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists' divergent cultural perspectives impinge on the interpretation of this work.

The final section, ""The Presence of the Past and Memory in Contemporary Music,"" examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.

Reviews

Fontes Artis Musicae

The book's editors ... have shaped this diverse collection of approaches and perspectives into a wide-ranging but coherent whole, bringing together essays that examine how ideas of place and identity impinge on the creation, analysis, and interpretation of twentieth-century art music..... While Centre and Periphery is likely to be read primarily by those interested in the music of Veress, Kurtag, and Anhalt, it is a substantial contribution to the broader literature on identity and migration. With is emphasis on Anhalt, the book is a major contribution to the study of musical lie in post-WWII Canada.... The Wilfrid Laurier University Press deserves much praise for taking on this very worthy project and presenting it in this richly illustrated and finely edited form. This relatively small university press has rapidly carved out a niche with a number of titles on music in postwar Canada, among them In Search of Alberto Guerrero (2006), Music Traditions, Cultures, and Contexts (2010), Weinzweig (2011), and Beckwith's memoirs, Unheard Of (2012). The WLU Press has just issued Out of Time (2013), the biography of another Nazi-era refugee, the conductor, Georg Tintner. These twenty-first century assessments of recent history come not a moment too soon and have much to say about music and imagination in twentieth-century Canada. Both Centre and Periphery, Roots and Exile and Mapping Canada's Music tell the stories of individuals uprooted and forced to find new beginnings in a country that was accepting of their talents and that was enriched by their contributions

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