reviews 545 blurring thechronological andaesthetic boundaries ina waythatmight reflect Cherepnin'snomadic life-style but which risksnarrativeand analytical clarity. Littleis said,forinstance, ofhowhe survived theNazi occupationof Paris.The composereventually paid a visitto SovietRussia in 1967(very muchin theveinofStravinskii's tripin 1962),whichoccasionedtheremark that'theParisianartistic climatehelpedyou think in yournativelanguage, encourageyou to aspireto nationaloriginality. And I mustsaythat,having lived in France forover thirty years,that helped me remaina Russian composer'(p. 66). This conviction ofhisessential Russianness, hisquip that 'thefolkloric "cure"'was 'thebestmedicineagainstabstruse abstractions' (for whichread thepost-Schoenbergian hegemony ofBoulez and hiscomrades), and hissensethattheprofession ofcomposerentailed'a mission to servethe community towhichhe belongs, whichstimulates him'(p. 208),all constitute pointsofcreative contact withofficial Sovietartistic policy;itisnotsurprising that, unlikeStravinskii, he warmedto themusicofShostakovich, writing ofa performance ofthe8thSymphony in 1970that'thehumanity ofhisart,the breadthofhisform[.. .] seemsto answertheimmensity ofour nativeland and embodyitin music'(p. 163). Korabelnikovacites extensively froma vast range of publishedand unpublished material(muchofitpreparedby BenjaminFolkman), and her own contributions are written withpassion and enthusiasm ('The Fourth Symphony is undoubtedly thebestand mostRussianofall', p. 173).Those interested in the sound of Cherepnin'smusic itselfwill want to look elsewhere, guidedbythelistofworksand recordings thatare includedas an appendix, as wellas bythecomposer's ownstatements ofhisartistic technique and credo.Handsomelypresented by Indiana University Pressand sympathetically translated by Anna Winestein, thetextitself nonetheless contains a significant numberof errors, principally in the consistency of translation fromtheRussianand in theuse ofthesoftsign(i.e. 'Zhizn', 'Deiatelnost", 'Vospominania', 'Pisma','Rossia',even'Zarubezhnaia'and 'prosvetitelskaya' in thesame title, as wellas theeccentric 'KratkiPudevoditel'po Byvshemy SpezkhranuRossiiskovoGodudarstvennovo ArkhivaLiteratury i Iskusstva, which,incidentally, shouldbe abbreviated as RGALI rather thananglicized as RSALA). Apartfrom speakers ofSwedish, no one has referred to Helsinki as Helsingfors (p. 59) formanyyears,and Taneev's cantata,Ioann Damaskin, oughtproperly to be either John ofDamascus orJohn Damascene, butcertainly notthemacaronic Johann Damaskin (p. 78). Wadham College, Oxford PhilipRoss Bullock Beckles Willson, Rachel. Ligeti, Kurtág, andHungarian Musk during theCold War. Music in the Twentieth Century. Cambridge UniversityPress, Cambridge,2007. xvii + 282 pp. Music examples.Notes. Personalia. Bibliography. Index.£50.00: $95.00. For a smallnationwitha peculiarly self-destructive recenthistory, Hungary has shownremarkable powersofsurvival in a numberofspheres, musicas 546 seer, 87, 3, July 2009 muchas anyother.Bartókhas notlostan inchofhisstature as one ofthe halfdozengreatest twentieth-century composers. Hungarianperformers have been as prominent in worldmusicas Scottishpoliticians at Westminster. Above all, in the last half-century two composershave emergedfrom Budapestwhom it is plausible,thoughnot compulsory, to regardas the mostbrilliant oftheir generation anywhere. The factthatGyörgy ligeti and György Kurtágwerebothbornnotin Hungaryat all butin theHungarianspeaking partofRomanianwestern Transylvania, and lessthanthreeyears apart,makestheconjunction still moreremarkable. Suchparallelsinvite exploration, notleastbecauselifehas treated thetwo composersso verydifferently. WhereasLigetifledfromKádár's Budapest soon after theOctober1956rising and spenttherestofhislife(he died in 2006) on and aroundtheinternational circuit oftheWestEuropeanavantgarde ,Kurtágstayedin Hungary(moreor less)untilthenineties and was scarcely known outside specialized Western circles before1980.Paradoxically, itis thisdivergence, and thesharpmusicaldifferences associated withit,that supplytherationaleofRachel BecklesWillson'sbook. She confesses in her introduction thattheremightseem something forcedabout the resulting design, butdefends iton thegrounds thatLigetineverentirely cuthimself off from hisstylistic andespecially linguistic roots, so thatthecontrasts are likethosebetweenbrothers separatedin childhood: inherently instructive no matter howseemingly comprehensive. This is a book, then,that operateson two levels: that of the large comparative design, and thatoftherichsourcing ofbackground information. The projectitself is certainly ambitious fora bookoflessthan300 pages.It alternates chapters ofbroadhistorical focuswithdetailedstudies whichzero in on particular aspectsand contexts of the composers'work.A perhaps dispensable sectionon Hungarianmusicbetweendie warsis followed by a valuableandwelldocumented survey ofthepost-war phasebefore1956,after whichthelargerpartofthebookfacesup to whatitsomewhat disarmingly describes as 'theparting ofways'.It's at thispointthatthegrandplan turns a little awkward, because no matter how thoroughly BecklesWillsontraces hertwomaincomposers' respective developments to theircommonsources in Hungarianmusic,literature and language,sheis neverquiteable to show whatitis aboutLigeti'smusicthatrootsitessentially inhisnativesoil,rather thanin thedeep mulchoftheinfluences to whichhe was subjected after he left. Thereremains a senseofparallelstudies - nowthis, nowthat, nowthis again- whichworks againsttheintegrationist, synthetic idea thatis implied bythetitle. It isunfortunately truethatmodernsubsidized research favours problematizing , whereasthe'realstrength ofa scholarlikeBecklesWillsonliesin her detailedknowledge of a particular scene and the factthatshe is uniquely equippedto trawlthesewatersand identify themarinelife, whatiteatsand is eatenby. Her pictureof Hungarianmusicafterthewar is illuminating because she knowswhatHungariansweresayingto and about each other, and itisinthiscontext thatone can begintounderstand whatitwas thatthe Kurtág of the WebernesqueStringQuartetand the Ligetiof Aventures emerged from in thelatefifties and whytheir worktooktheform itdid. reviews 547 In theseventies, whenWestern critics including thepresent writer started visiting Hungaryand reviewing itsnew music- withthefinancial help...