Az új zenéről szóló közbeszéd és a zenepolitika összefüggései az 1960-as évek első felének Magyarországán: Mihály András 3. szimfóniájának fogadtatása

Péteri, Lóránt (2014) Az új zenéről szóló közbeszéd és a zenepolitika összefüggései az 1960-as évek első felének Magyarországán: Mihály András 3. szimfóniájának fogadtatása. Magyar Zene, 52 (2). pp. 159-174. ISSN 0025-0384

Text Mihaly_Andras_3ik_szimfonia.pdf - Published Version Restricted to Repository staff only Download (466kB) | Request a copy

Abstract

Based on archival and press sources, this case study examines the discourse on new music in Hungary, in the early 1960s with special regard to its cultural political and dominant ideological environment. Focussing on the reception of the 1962 première of the Third Symphony by András Mihály (1917–1993), I wish to present how musical modernism was perceived under the circumstances of the changing cultural politics of the post-Stalinist period of Hungarian state socialism. Although the leading ideologues of the musical field had already distanced themselves from Zhdanovism, they still regarded socialist realism as the most preferable existing movement and / or as the teleological destination of Hungarian music. Mihály’s Third Symphony cannot be counted as a representative of the most experimental style in 1960s’ Hungary, not to mention the global scene. The majority of the reviews on the work still focussed on the question of the modern ‘language’ of the Symphony. The six reviews, however, also documents the pluralist nature of musical criticism at that time in the Hungarian capital, with its population of one and a half million. The Third Symphony was also discussed at the general meeting of the Hungarian Musicians’ Association, which followed a week after the première. Mihály, who had been active in the communist takeover of musical life between 1948 and 1950, now publicly broke with the teleological view of contemporary music, and emphasized the value of stylistic diversity. He also rejected the principle that cultural policy makers had to support one chosen musical style instead of others, in the name of the increasingly unfathomable concept of socialist realism.

Actions (login required)

Edit Item