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.

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Über die Autorin bzw. den Autor

Friedemann Sallis obtained his PhD in musicology under the direction of the late Carl Dahlhaus at the Technische Universitt Berlin. His writings include a book on the early works of György Ligeti and numerous articles. He is the co-editor of A Handbook to Twentieth-Century Musical Sketches (2004).

Robin Elliott holds the Jean A. Chalmers Chair in Canadian Music at the Faculty of Music, University of Toronto. He recently co-edited two books for WLU Press, Music Traditions, Cultures, and Contexts (with Gordon E. Smith, 2010) and Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress (with Friedemann Sallis and Kenneth DeLong, 2011).

Kenneth DeLong is a professor of music history at the University of Calgary, Alberta. He has published extensively on Romantic Czech music. He is also a music critic for the Calgary Herald and Opera Canada. Recent publications include chapters in The Unknown Schubert, edited by Barbara M. Reul and Lorraine Byrne Bodley (2008), and Henry Irving: a Re-Evaluation of the Pre-Eminent Victorian Actor-Manager, edited by Richard Foulkes (2008).

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.

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**Please note our transit times are from the date of dispatch.** We first started out as “The Paperback Exchange,” a chain of physical bookstores where we would part exchange your beloved books for new stories to transport you to faraway places. However, as shopping started to evolve to online shops and marketplaces, we bid our stores goodbye to become “PBShop.” This transition has only allowed us to blossom as we now ship thousands of titles to book lovers across the globe. We pride ourselves in being a community of local book lovers which allows our passion and devotion to shine in everything we do. In 2020 we not only celebrated our 20th birthday but our 1st birthday as being completely employee owned after becoming an E.O.T in September 2019. We are proud to be different and embrace standing apart on a book mountain by working from a virtual inventory which allows us to provide thousands of books that may be difficult to get for your bookshelf or your studies. Working with a number of different suppliers allows us to explore other avenues such as puzzles, sheet music and even stationery so we really do have something for everyone. Life is about being versatile in all realms of existence. If this is your first purchase with us, or you are a returning customer, we would like to welcome you to the PBShop family, for there is no friend as loyal as a book. We are a company who put our customers at the centre of everything we do as we understand the importance of reading because once you learn to read, you will forever be free. There are a whole lot of things in this world of ours that we are yet to explore, which is why we will forever inspire curious minds.…

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Returns Policy
We ask all customers to contact us for authorisation should they wish to return their order. Orders returned without authorisation may not be credited.
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Datenschutz und Sicherheit

We are committed to protecting the privacy and security of personal data. This policy tells you how we will collect and use your personal data, and what you should expect in respect of the personal information about you that we have collected.

We are PBShop.co.uk Limited (registered in England & Wales with Company No: 9366362). Our registered office is at Swatton Barn, Badbury, Swindon, SN4 0EU, United Kingdom.

The person with responsibility for our data protection compliance is the Managing Director and they can be contacted via email at help@pbshop.store.

We are the data controller of the personal data that we keep and use, and we are therefore responsible for making sure that our systems, processes and people comply with the relevant data protection laws in respect of that personal data.

We will act in respect of personal data to comply with the six principles of the General Data Protection Regulation (“GDPR”), which are:

Lawfulness, fairness and transparency;
Purpose limitation;
Data minimisation;
Accuracy;
Storage limitation;
Integrity and confidentiality.
You have rights in respect of how your personal data can be processed; these include the right to request:

a copy of your personal data;
that inaccurate data is rectified; and
that your personal data is, in certain circumstances, erased or restricted.
You have the right to complain to the Information Commissioner, which you can do by contacting the Information Commissioner’s Office (ICO) directly. Full contact details, including a helpline number, can be found on the ICO website (www.ico.org.uk). This website also has useful information on your rights and our obligations. However, please raise any concerns or issues with us first so that we may deal with this as quickly as possible for you.

COLLECTION, USE AND DISCLOSURE OF PERSONAL DATA
We collect and process data for the following reasons:

personal data collected and created in relation to our selling books and other items; and
personal data relating to our people (which means those people working for our company, or providing services to us, or potentially working or providing services to us, including employees, consultants, temporary or casual workers and contractors).
All of our people are required to abide by our Privacy Policy when handling personal data, and are provided with appropriate data protection training. Any breach of data protection will be taken seriously, and may result in disciplinary action.

Selling books and other items
COLLECTION:
We will collect personal information which may include names, addresses and other information for our customers. This will be done for the management of the commercial relationship with our customers.

We may collect this personal data from you directly, and also from third parties, including publicly available third party sources. Additional personal data will be collected as it is created by or supplied to us in the course of anything we do for you.

USE:
We will use the personal data in the course of making sales and to comply with requirements that we are required to undertake.

We will only use your personal data when the law allows us to. Most commonly, we will use your personal data in the following circumstances:

in performance of a contract (the agreement to sell books and other items); and/or
compliance with a legal obligation; and/or
vital interests of the data subject; and/or
where it is necessary for our legitimate interests (or those of a third party) and your interests and fundamental rights do not override those interests.
We may also use your personal data in the following situations, which are likely to be far less common:

where we need to protect your interests (or someone else’s interests);
where it is needed in the public interest or for official purposes.
DISCLOSURE:
We may share personal data with third parties as is necessary in the sale of books and other items, including to third party providers who deliver services to support the operation of our company.

In respect of all disclosures of personal data, we will only share the personal information which is necessary for the particular purpose for which it is provided, or where we have another legitimate interest in doing so, and we will ensure that the personal data is appropriately protected.

RETENTION PERIOD:
We will keep personal data only for as long as is necessary to fulfil the purposes for which we collected it, including for the purposes of satisfying any legal, accounting or reporting requirements. Normally, our retention period for personal data collected for this purpose is a minimum of 6 years after the end of the period that we are selling books and other items.

Our people
COLLECTION:
We will collect names, addresses, contact details, education and employment history, identity and other background checks (which may include appropriate criminal and financial checks and confirmation of the right to work in the UK), marital status and information on next of kin and dependents, financial information (such as bank details and NI numbers), date of birth, gender, a copy of your passport and driving licence, performance information and compensation history, recruitment information (including references), salary, benefits, pension and annual leave information, disciplinary and grievance information, photographs, information about your use of our information and communications systems and CCTV footage or other information obtained through electronic means.

We may collect and use special categories of personal data as required in the carrying out of obligations and exercising specific rights of us or the data subject in the field of employment. This may include information relating to matters such as health, racial origin, religious belief and offences or alleged offences.

Personal data may be collected from you during the selection process (for example via your application form and CV) and during your employment (including holiday forms, expense claims, performance reviews, any disciplinary or grievance processes), or from third parties, including referees, health service providers, background check providers.

USE:
Personal data of our people will be used for HR administration and management, both in respect of the selection of people to work for us (including suitability, eligibility and/or fitness to work), and those who do work for us, to include learning and development, disciplinary and security (of people, offices and data) requirements, providing and liaising with benefits providers, business management and planning (including accounting and auditing), paying you and dealing with tax and NI deductions, assessing and deciding on salary reviews and compensation, conducting performance reviews and managing performance, dealing with legal disputes involving you or others, preventing fraud, monitoring your use of our information and communications systems, ensuring compliance with our policies, and equal opportunities monitoring.

We will only use your personal data when the law allows us to. Most commonly, we will use your personal data in the following circumstances:

In performance of a contract with you; and/or
compliance with a legal obligation; and/or
vital interests of the data subject; and/or
where it is necessary for our legitimate interests (or those of a third party) and your interests and fundamental rights do not override those interests.
We may also use your personal data in the following situations, which are likely to be less common:

where we need to protect your interests (or someone else’s interests);
where it is needed in the public interest or for official purposes.
In respect of all disclosures of personal data, we will only share the personal information which is necessary for the particular purpose for which it is provided, or where we have another legitimate interest in doing so, and we will ensure that the personal data is appropriately protected.

In respect of special categories of personal data, we may process this in the following circumstances:

in limited circumstances with your explicit written consent; and/or
where we need to carry out our legal obligations and in line with our policies; and/or
where it is needed in the public interest (such as for equal opportunities monitoring or in relation to our occupational pension scheme), and in line with our policies; and/or
where it is needed to assess your working capacity on health grounds, subject to appropriate confidentiality safeguards.
Less commonly, we may process this type of information where it is needed in relation to legal claims or where it is needed to protect your (or someone else’s) interests and you are not capable of giving your consent, or where you have already made the information public. We may also process such information about our people (or former people) in the course of our legitimate business activities with the appropriate safeguards.

The special categories of personal data may be used in the following ways:

in relation to leaves of absence, to comply with employment and other laws;
in relation to your physical or mental health, or disability status, to ensure your health and safety in the workplace and to assess your fitness to work, to monitor, manage and administer benefits and absences;
in relation to your race, national or ethnic origin, religious, philosophical or moral beliefs, or your sexual life or sexual orientation, to ensure meaningful equal opportunity monitoring and reporting.
DISCLOSURE:
Personal data may be transferred to service providers who support the operation of our business (such as payroll service providers), to other third parties reasonably necessary in the conduct of our business (including insurers, professional advisors, regulators). These third parties may be acting as processor, or controller of personal data in their own right.

RETENTION PERIOD:
We will keep personal data only for as long as is necessary to fulfil the purposes for which we collected it, including for the purposes of satisfying any legal, accounting or reporting requirements. We will normally keep personal data of applicants who we do not employ for six months after we receive it.

We will keep personal data of employees throughout your employment and normally for a minimum of six years after your employment ends.

Changes to your personal data
It is very important that the personal information that we hold about you is accurate and current. Please tell us if your personal information changes during your relationship with us.

Data Security
We have put in place measures to prevent your personal data from being accidentally lost, used or accessed in an unauthorised way, altered or disclosed. In addition, we limit access to your personal data to those of our people and other third parties who have a business need to know. They will only process your personal data on our instructions and where they have agreed to treat the information confidentially and to keep it secure. We have put in place procedures to deal with any suspected data security breach and will notify you and the ICO of a suspected breach where we are legally required to do so.

Where we store your personal data
We principally store data, both electronically and on file, at our office.

Personal data may be transferred outside of the EEA by processors acting on our behalf. For transfers to countries not considered adequate by the EC, we will ensure that personal data is adequately protected, as required by the GDPR. This would include by use of the Standard Contractual Clauses adopted by the EC to protect personal data.

Your rights
Under certain circumstances, you have the right by law to request:

access to your personal data. This enables you to ask to receive a copy of the personal data that we hold about you and to check that we are lawfully processing it.
correction of the personal data that we hold about you.
erasure of your personal data.
object to processing of your personal data where we are relying on our legitimate interest and there is something about your particular situation which makes you want to object to processing on this ground. You also have the right to object where we are processing your personal information for direct marketing purposes.
restriction of processing of your personal data.
transfer of your personal data to another party.
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Our website may, from time to time, contain links to and from the websites of third parties that we permit to make such links. If you follow a link to any of these websites, please note that these websites have their own privacy policies and that we do not accept any responsibility or liability for these policies. We recommend that you check these policies before you submit any personal data to these websites.

CHANGES TO THIS PRIVACY POLICY
Any changes we may make to our privacy policy in the future will be posted on our website, so please ensure that you are viewing the correct version.

Please contact us if you have any questions, comments or requests regarding this Privacy Policy.

Last amended May 2021.

Centre and Periphery, Roots and Exile

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