Peter Laki
Biographic Data
| ID | 156489 |
|---|---|
| NAME | Peter Laki |
| GIVEN NAMES | Peter |
| FAMILY NAME | Laki |
| SIGNATURE | LAKI P |
| AFFILIATIONS | Bard College |
| ORCID | 0009-0007-3286-0696 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Bartók and the Viola
On at least two occasions during his work on the Viola Concerto, Bartók expressed doubts about the extent of his experience with the instrument. These uncertainties may seem surprising to us today, yet they show that Bartók was keenly aware of the special problems posed by the viola, an instrument that had a very limited concerto repertoire at the time. The years have shown that the passages that may have seemed “uncomfortable or unplayable” (Bar…
Finie la rigolade: Kurtág’s Beckettian Worldview
György Kurtág first saw Samuel Beckett’s play Fin de partie in Paris in 1957. The experience led to a life-long devotion to the Irish-French writer that reached its culmination in the opera based on that drama, premiered at La Scala in 2018. During the sixty-one years between Kurtág’s first encounter with Beckett and the first performance of the opera, the composer wrote two other works after Beckett: What is the Word (Op. 30/a and 30/b, 1990–199…
The Widow in the Old House or The Elevator is Out of Order
On several occasions, Ligeti spoke about an early literary memory that he credited with the origins of his meccanico style. He recalled reading a short story by Gyula Krúdy (1878–1933) at the age of five, in which Krúdy supposedly wrote about a widow who lived in an old house filled with constantly ticking clocks. To date, the best Krúdy experts have been unable to identify the story in question, and it is reasonable to assume that in Ligeti's mi…
The Decade of the Violin Concerto: New Music and the Performer in the 1930s
The 1930s saw an unusually rich harvest of violin concertos. An examination of this group of works provides a singular and seldom-considered angle from which to view the music history of the interwar period. In spite of the widely divergent styles and personal approaches, the works are united by certain factors that result from the choice of genre, with an attendant set of historical and technical constraints. In addition, the violinists who comm…
Bartók and His World
The Gallows and the Altar: Poetic Criticism and Critical Poetry about Bartók in Hungary
A Selection of Poems Inspired by Béla Bartók
Travel Reports from Three Continents: A Selection of Letters from Béla Bartók
Saracini, Claudio
Synagogue Song in America
Yuval: Studies of the Jewish Music Research Centre, Volume 5: The Abraham Zvi Idelsohn Memorial Volume
Traditional Music of Vietnam
La musique des Inuit du Caribou. Cinq perspectives méthodologiques
No prominent works on this page.
La musique des Inuit du Caribou. Cinq perspectives méthodologiques
Traditional Music of Vietnam
Yuval: Studies of the Jewish Music Research Centre, Volume 5: The Abraham Zvi Idelsohn Memorial Volume
Synagogue Song in America
Saracini, Claudio
Bartók and His World
The Gallows and the Altar: Poetic Criticism and Critical Poetry about Bartók in Hungary
A Selection of Poems Inspired by Béla Bartók
Travel Reports from Three Continents: A Selection of Letters from Béla Bartók
The Decade of the Violin Concerto: New Music and the Performer in the 1930s
The 1930s saw an unusually rich harvest of violin concertos. An examination of this group of works provides a singular and seldom-considered angle from which to view the music history of the interwar period. In spite of the widely divergent styles and personal approaches, the works are united by certain factors that result from the choice of genre, with an attendant set of historical and technical constraints. In addition, the violinists who comm…
The Widow in the Old House or The Elevator is Out of Order
On several occasions, Ligeti spoke about an early literary memory that he credited with the origins of his meccanico style. He recalled reading a short story by Gyula Krúdy (1878–1933) at the age of five, in which Krúdy supposedly wrote about a widow who lived in an old house filled with constantly ticking clocks. To date, the best Krúdy experts have been unable to identify the story in question, and it is reasonable to assume that in Ligeti's mi…
Bartók and the Viola
On at least two occasions during his work on the Viola Concerto, Bartók expressed doubts about the extent of his experience with the instrument. These uncertainties may seem surprising to us today, yet they show that Bartók was keenly aware of the special problems posed by the viola, an instrument that had a very limited concerto repertoire at the time. The years have shown that the passages that may have seemed “uncomfortable or unplayable” (Bar…
Finie la rigolade: Kurtág’s Beckettian Worldview
György Kurtág first saw Samuel Beckett’s play Fin de partie in Paris in 1957. The experience led to a life-long devotion to the Irish-French writer that reached its culmination in the opera based on that drama, premiered at La Scala in 2018. During the sixty-one years between Kurtág’s first encounter with Beckett and the first performance of the opera, the composer wrote two other works after Beckett: What is the Word (Op. 30/a and 30/b, 1990–199…
Art (6 works) · Musicology and Musical Analysis (3 works) · Art history (2 works) · Colonialism, slavery, and trade (2 works) · Computer Science (2 works) · Concerto (2 works) · Diverse Musicological Studies (2 works) · Geography (2 works) · History (2 works) · Literature (2 works)