About the Symposium
A Symposium at the University of Chicago, March 6-8, 2018
The Hungarian expatriate and avant-gardist György Ligeti is one of the most performed, most recognized, and most influential composers of the postwar generation. His oeuvre is at once inimitable, paradoxical, and broad. He was one of twentieth-century music’s great wanderers: a Jewish refugee from Hungary, an Austrian citizen from the late 1960s, speaking multiple languages, living and teaching in multiple cities, drawing upon a great, even improbable variety of Western and non-Western musical cultures. In other words, Ligeti was serially dislocated: a cosmopolitan, an exile, a belonger to many worlds. This symposium seeks to bring together several audiences to think together about dislocation, (post)modernity, music in exile, appropriation, and Ligeti’s beguilingly paradoxical aesthetics. The symposium follows on the heels of Pierre-Laurent Aimard’s performance of several of Ligeti’s piano etudes and Beethoven’s “Hammerklavier” Sonata on Tuesday March 6 and includes performances by the New Budapest Orpheum Society and Doyle Armbrust (of Spektral Quartet).
Dislocations is organized by four members of the University of Chicago’s music faculty: Seth Brodsky, Anthony Cheung, Jennifer Iverson, and Sam Pluta.