Chapters in this book

1. Front Matter i
2. Contents vii
3. List Of Examples ix
4. List of Plates and Figures xiv
5. List Of Tables xvii
6. Acknowledgements xviii
7. Introduction 1
8. First Word
9. István Anhalt: A Character Sketch 29
10. Kurtág, as I Know Him 37
11. “A Kind of Musical Autobiography”: Reading Traces in Sándor Veress’s Orbis tonorum 45
12. Place and Displacement
13. Of the Centre, Periphery; Exile, Liberation; Home and the Self ¹ 57
14. István Anhalt’s Kingston Triptych¹ 73
15. István Anhalt’s The Tents of Abraham: Where Music Cannot Heal, Let It Be Restored 89
16. Which Displacement? Tracing Exile in the Postwar Compositions of István Anhalt and Mátyás Seiber 113
17. Letters to America 129
18. Roots and Routes: Travel and Translation in István Anhalt’s Operas 175
19. Le fonds István-Anhalt (mus 164) à Bibliothèque et Archives Canada : auto-construction du compositeur et rôle du lieu dans son oeuvre 199
20. Perspectives on Reception, Analysis, and Interpretation
21. Sewing Earth to Sky: István Anhalt and the Pedagogy of Transformation 219
22. György Kurtág’s Játékok: A “ Voyage” into the Child’s Musical Mind 241
23. Arracher la figure au figuratif : la musique vocale de György Kurtág 265
24. Dirges and Ditties: György Kurtág’s Latest Settings of Poetry by Anna Akhmatova 279
25. Interpreting György Kurtág and George Crumb: Through the Looking Glass 303
26. The Presence of the Past and Memory in Contemporary Music
27. György Kurtág et Walter Benjamin: considérations sur l’aura dans la musique 327
28. What Presence of the Past? Artistic Autobiography in György Kurtág’s Music 345
29. “Listening to inner voices”: István Anhalt’sSonance•Resonance (Welche Töne?) 371
30. Music Written from Memory in the Late Work of István Anhalt 395
31. Final Word
32. On Doubleness and Life in Canada:An Interview with István Anhalt 423
33. The contributors 433
34. Index 439