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music and opera, his mother was not especially musical, she did have a piano; Anhalt began taking piano lessons at the age of six with a teacher who lived in his neighborhood and later from a family friend until he was twelve years of age. From the age of ten, he attended the Dániel
Berzsenyi Secondary school, failing several subjects at first but later excelling and graduating in 1937. He also attended outdoor musical performances on Margaret Island.
496:, Anhalt makes recurrent references to some Canadian composers, as well as their music. He discusses the role of Canadian music and composers in the context of present-day thought in contemporary Western art, music, and philosophy. Rhythm, theatre, poetry, performing techniques, sound, speech, and the roots of language and music are explored, their components interconnected, as well as their usage are examined.
285:, Anhalt and his best friend at the academy were both forced to enter a forced-labour brigade for young Jewish men. Anhalt's friend was killed by a soldier in the unit. Anhalt escaped from the brigade, disguised himself as a seminarian, and hid until the war was over. He then made his way to Paris, where he had access to music teachers and abundant artistic stimulation.
481:. It was completed in March 1983, and calls for a mixed choir, six solo singers, an instrumental ensemble of no less than 30 players, and a boys’ choir. Anhalt described this "musical pageant" as an exploration into the spiritual and personal aspects of a man, depicting how these supply meaning and significance to his actions.
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in the
Faculty of Music. He established the Theory and Composition Departments, He established the music composition program for the institution, was chairman for the Theory Department, and developed and directed the McGill University Electronic Music Studio (EMS). He composed continually during that
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His father's financial troubles, his half-sister's birth in 1935, and tension between him and his step mother led Anhalt to move again a few years later to stay with his maternal grandparents. At about that time, Anhalt overheard László Gyopár, a peer from a neighboring school, play a piece he had
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is the first of three large scale works created by Anhalt after 1971. It is an hour-long piece that premiered in 1975, in a performance broadcast by CBC Radio. This "musical tableau" was composed for an orchestra of 16 players, five singer-narrators, and pre-recorded tapes for five operators. Its
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to a Jewish family on April 12, 1919. He was son of Arnold Anhalt and
Katalin Anhalt (née Herzfeld), When he was still an infant, Anhalt's parents separated; he lived with his mother until the age of twelve, attending elementary school from 1925 to 1929. Although she had some interest in serious
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on the piece, and, admiring Gyopár's compositional achievements, decided to learn how to write music and compose his own pieces. Anhalt and Gyopár became good friends, and soon after, Anhalt began to receive private harmony lessons with Géza Falk. Gyopár was attending the
Academy of Music at the
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is a written study of linguistics as a way of acquiring an understanding of the human voices’ potential in a choral compositional, as well as a contemporary vocal, context. In about 1967 Anhalt had started studies of the reflection of personalty through the voice in the composition classes he
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in 1971 when he became the head of Queen's
University's Department of Music. He remained in this position until 1981. He continued to teach at the university until 1984 when he retired. During his years at Queen's University, Anhalt continued to write, compose and teach. His composition
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At age twelve, Anhalt went to live with his father, who had remarried in 1931. Encouraged by his father's love of music, Anhalt developed a good ear for harmony, and taught himself to play the violin. Anhalt learned to speak four languages, Hungarian, German, French, and
English.
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The next brief period in Anhalt's musical career was entirely dedicated to electronic music where he produced four compositions, and studying first-hand the newest developments and media during that time, in order to establish fresh and current concepts for his original work.
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Anhalt is one of the earliest serious composers of electronic music. His music underwent changes over the years, and can be divided into four periods. Anhalt has a librettist for his dramatic works, beginning in 1969 with
447:. Anhalt also adopted a more flexible syntax, as well as a larger musical vocabulary to create new vocal and instrumental sounds. He began to use timbre, timing, and musical densities in new ways in his compositions.
258:; he graduated with exceptional marks in 1941. He also continued his studies for the next year and a half by attending classes from Turkish linguistics to Folklore at Pázmány University and attending a seminar by
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taught; he concentrated on this research while on his first sabbatical leave from 1976 to 1977. The work received favourable reviews, and was included in the list the 1984 outstanding academic books by Choice.
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From 1962 until 1971 Anhalt reworked, consolidated and expanded his experiences during the two previous periods. He combined electronic sounds with the sounds of the chorus or the orchestra in his
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After his retirement, Anhalt continued to composer, and to write scholarly and other articles. He died at the age of 92, on
February 24, 2012, in Kingston, at St. Mary's of the Lake Hospital.
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325:, and soon met Beate Frankenberg, a biochemist. The pair married in 1952, and together they have two daughters, Carol Greaves and Helen Jennifer Marcello, and two grandchildren.
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Anhalt's early composing focused on a variety of works for chorus, solo voice, ensembles, and instrumental soloists. This period ended with the finalization of his work
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theme is the pursuit of God and meaning, and is based on the life of one of the earliest French women to settle in Canada, Marie de l’Incarnation.
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169:. His works earned him the reputation of one of the founding fathers of electroacoustic music in Canada. Among his pupils are
674:"About one's place and voice," Identities: The Impact of Ethnicity on Canadian Society, ed. Wsevolod W. Isajiw (Toronto 1977)
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381:. He became a mentor for a number of his students, many of whom kept in touch with him until the final years of his life.
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Cento 'Cantata Urbana' (Grier), 12 speakers (SATB), tape. 1967. BMIC 1968. RCI 357/5-ACM 22 (Tudor
Singers of Montreal)
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Sallis, Friedemann. “Eagle Minds: Selected
Correspondence of Istvan Anhalt and George Rochberg, 1961–2005 Review”
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Record and book reviews in
Canadian Music Journal (1957–61), including a review of Varèse recordings, Winter 1961
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683:"What tack to take? An autobiographical sketch (life in progress ... )," Queen's Quarterly, vol. 92, Spring 1985
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686:"Pst ... pst ... are you listening? Hearing voices from yesterday," Queen's Quarterly, vol. 93, Spring 1986
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premiered in July 1975, and soon after he began to work on another piece, which would be his second opera,
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Anhalt's mixed work schedule of administration, composition, and teaching was one he carried with him to
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Gillmor, Alan M. "Eagle Minds: Selected Correspondence of Istvan Anhalt and George Rochberg (1961–2005)"
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668:"La musique électronique," "L'histoire de Cento," Musiques du Kébèk, ed. Raoul Duguay (Montreal 1971)
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and founded the McGill University Electronic Music Studio. He also served as head of music at
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Six Songs from Na Conxy Pan (Sándor Weöres), baritone, piano. 1941-7 (English version 1984)
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677:"Winthrop: the work, the theme, the story," Canadian University Music Review, vol 4, 1983
871:, Government House, Ottawa, Canada, 11 October 2003, Vol. 137, No. 41, October 11, 2003.
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Alternative Voices: Essays on Contemporary Vocal and Choral Composition (Toronto 1984)
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Eagle Minds: Selected Correspondence of Istvan Anhalt and George Rochberg, 1961–2005
689:"Music: context, text, counter-text," Contemporary Music Review, vol. 5, no. 1, 1989
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Foci, soprano, chamber ensemble, tape. 1969, Ber 1972. RCI 357/5-ACM 22 (Mailing)
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692:"Text, context, music," Canadian University Music Review, vol. 9, no. 2, 1989
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Sonata, violin and piano. 1954, RCI 220/RCA CCS-1014/5-ACM 22 (Bress violin)
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during the summer of 1960, and the two became friends. Rochberg was born in
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730:, edited by Timothy J. McGee, 15–44. Toronto: University of Toronto Press.
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occurred in the same year that Anhalt retired from university teaching,.
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at an International Conference of Composers at the Stratford Festival in
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671:"Luciano Berio's Sequenza III," Canada Music Book, 7, Autumn-Winter 1973
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Elliott, Robin, Gordon E. Smith. "Istvan Anhalt: Pathways and Memory"
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Thisness, "a duo-drama" (Anhalt), mezzo, piano. 1986 (Vancouver 1986)
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Trio. 1953, RCI 229/RCA CCS-1023/5-ACM 22 (Brandon University Trio)
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composed himself at the piano. Anhalt recognized the influence of
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A Little Wedding Music (Hopkins), soprano, organ. 1984, Ber 1985
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Sonance•Resonance (Welche Töne?), orchestra. 1989 (Toronto 1989)
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662:"The making of Cento," Canada Music Book, 1, Spring-Summer 1970
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Doors ... Shadows (Glenn Gould In Memory), string quartet. 1992
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For twenty-two years Anhalt taught analysis and composition at
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The Bell Man (Herrick), choir, 2 bells, organ. 1954 (rev 1980)
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Psalm XIX 'A Benediction' (A.M. Klein), baritone, piano. 1951
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Twilight Fire (Baucis' and Philemon's Feast), orchestra. 2001
208:. Selections from his correspondence with American composer
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Gillmor, Alan M. 1995. "Echoes of Time and the River". In
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Comments (Montreal Star clippings), alto, piano trio. 1954
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The Tents of Abraham (A Mirage), orchestra. Premiered 2004
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Juno Award for Classical Composition of the Year winners
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Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit
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Chansons d'aurore (Verdet), soprano, flute, piano. 1955
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Three Songs of Love, (de la Mare, anonymous), SSA. 1951
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Robin Elliott and Gordon E. Smith (November 8, 2001).
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Fantasia. 1954. Ber 1972. Col 32-11-0046 (Gould piano)
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Arc en ciel, ballet, two pianos. 1951 (Montreal 1952)
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Three Songs of Death (Davenant, Herrick), SATB. 1954
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Symphony, orchestra. 1958 (Montreal 1959), BMIC 1963
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Funeral Music, small orchestra. 1951 (Montreal 1954)
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728:Taking a Stand: Essays in Honour of John Beckwith
377:. All the while, he also worked on his monograph
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665:"About Foci," Artscanada, vol 28, April–May 1971
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1047:Elliott, Robin; Smith, Gordon Ernest (2001).
695:"Thisness: marks and remarks," Musical Canada
652:The Squirrel (E. Barnett), voice, piano. 2002
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1348:Canadian people of Hungarian-Jewish descent
555:SparkskrapS, orchestra. 1988 (Toronto 1988)
151:(April 12, 1919 – February 24, 2012) was a
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849:Order of Canada: Istvan Anhalt, O.C., LL.D
549:Symphony of Modules, orchestra, tape. 1967
309:Emigration to Canada and academic position
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1255:Gesing, Renka. “Istvan Anhalt: Profile 3”
161:Anhalt served as a professor of music at
711:Beckwith, John. 2001. "Anhalt, István".
254:Anhalt studied piano with Kodaly at the
1398:Hungarian World War II forced labourers
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204:. In 2007, he was made a Fellow of the
200:In 2003, he was made an Officer of the
27:Hungarian-Canadian composer (1919–2012)
1408:Escapees from Nazi concentration camps
1323:Fellows of the Royal Society of Canada
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552:Simulacrum, orchestra. 1987 (Ott 1987)
300:before emigrating to Canada in 1949.
269:of the Hungarian Army in 1940 during
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1393:21st-century Canadian male musicians
1388:20th-century Canadian male musicians
288:In the late 1940s, he studied under
880:István Anhalt and George Rochberg,
829:"Composer Istvan Anhalt dies at 92"
806:. February 25, 2012. Archived from
1353:Hungarian male classical composers
1051:Istvan Anhalt: pathways and memory
745:Istvan Anhalt: Pathways and Memory
540:Interludium, small orchestra. 1950
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1378:21st-century classical composers
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1318:Officers of the Order of Canada
751:McGill-Queen's University Press
723:. London: Macmillan Publishers.
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317:in 1949, as a recipient of a
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847:Governor General of Canada.
715:, second edition, edited by
527:Traces (Tikkun), opera. 1996
499:The publication of his work
265:Anhalt was drafted into the
256:Franz Liszt Academy of Music
167:Queen's University, Kingston
44:when mentioning individuals.
1055:. McGill University Press.
996:"Ob "ituary: Istvan ANHALT"
781:, by Florian Scheding, 2017
356:1971–1984, move to Kingston
247:time, where Anhalt audited
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1338:Jewish classical composers
918:. Routledge. May 8, 2009.
402:, and ending in 1999 with
225:István Anhalt was born in
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1333:Jewish Canadian musicians
1278:The Canadian Encyclopedia
503:and the finalization of
216:Early life and education
212:were published in 2007.
40:. This article uses
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465:is a parallel piece to
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1216:Elliott; Smith, p.103
1204:Elliott; Smith, p.100
779:University of Hamburg
319:Lady Davis Fellowship
267:forced labour service
1195:Elliott; Smith, p.97
1086:Elliott; Smith, p.17
985:Elliott; Smith, p.40
976:Elliott; Smith, p.38
955:Elliott; Smith, p.35
943:Elliott; Smith, p.37
901:Elliott; Smith, p.19
862:The Order of Canada
521:La Tourangelle. 1975
385:Retirement and death
313:Anhalt emigrated to
281:In 1942, during the
810:on January 20, 2016
484:Published in 1984,
437:Symphony of Modules
1403:Hungarian escapees
1272:2016-03-04 at the
867:2009-05-07 at the
860:Government House.
501:Alternative Voices
494:Alternative Voices
486:Alternative Voices
379:Alternative Voices
298:Soulima Stravinsky
277:1942: World War II
153:Hungarian-Canadian
42:Western name order
1245:Gazette. "DEATHS"
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330:McGill University
197:and Alex Tilley.
181:, Hugh Hartwell,
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104:Kingston, Ontario
96:February 24, 2012
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