By Danielle Fosler-Lussier
Track Divided explores how political pressures affected musical lifestyles on each side of the iron curtain throughout the early years of the chilly conflict. during this groundbreaking examine, Danielle Fosler-Lussier illuminates the pervasive political anxieties of the day via specific realization to creative, music-theoretical, and propagandistic responses to the tune of Hungary's most famed twentieth-century composer, B?la Bart?k. She exhibits how a demanding interval of political transition plagued Bart?k's song and imperiled those that took a stand on its aesthetic worth within the rising socialist nation. Her attention-grabbing research of Bart?k's reception outdoors of Hungary demonstrates that Western composers, too, formulated their rules approximately musical kind less than the effect of ever-escalating chilly struggle tensions.Music Divided surveys Bart?k's function in upsetting destructive reactions to "accessible" song from Pierre Boulez, Hermann Scherchen, and Theodor Adorno. It considers Bart?k's effect at the younger compositions and deliberating Bruno Maderna and Karlheinz Stockhausen, and it outlines Bart?k's legacy within the tune of the Hungarian composers Andr?s Mih?ly, Ferenc Szab?, and Endre Szerv?nszky. those info display the effect of neighborhood and overseas politics at the collection of track for live performance and radio courses, on composers' offerings approximately musical type, on executive radio propaganda approximately song, at the improvement of socialist realism, and at the use of modernism as an tool of political motion.
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Additional resources for Music Divided: Bartók's Legacy in Cold War Culture (California Studies in 20th-Century Music)
23 The homage begins even before the ﬁrst measure of music. Szabó’s preface to the score explains that his designation of the work as a concerto “is not an end in itself; rather, it refers only to the freer nature of its performance. ”25 Like Bartók’s Concerto for Orchestra, Szabó’s Homecoming concerto relies not on the use of a solo instrument, but on the presentation of contrasting groups of instruments. Szabó’s act of homage suggests that he, like Mihály, considered Bartók an excellent model for new socialist music.
13 A few years later Adorno applied this kind of thinking to Bartók, suggesting that his allegiance to tonality seemed too closely aligned with the “folkish” tendencies of Nazi populism. ”14 Adorno’s astonishment makes it apparent that he had viewed Bartók as a true political progressive—but only until Bartók made his statement about his continuing devotion to tonality, which threw his antifascism back into question. The blunt equation of tonality with Nazi populism makes conspicuous the link between ethical rectitude and modernist musical styles that was forged during the period of catching up.
Leibowitz’s essay exerted a signiﬁcant inﬂuence on postwar perceptions of Bartók. 28 Still, perhaps because of the compelling nature of the fears he was playing upon, Leibowitz’s view proved durable and inﬂuential among the young generation of modernist musicians. threats to modernism, real and perceived These visceral reactions of modernists against the legacies of Nazism and collaboration were reinforced by the 1948 Soviet resolution condemning modernist musical styles. Western Europeans who had committed themselves to modernism were horriﬁed by the idea of socialist realism, both as a threat to the autonomy of the work and as an affront to the modern sound they were trying to rehabilitate.
Music Divided: Bartók's Legacy in Cold War Culture (California Studies in 20th-Century Music) by Danielle Fosler-Lussier