The paper focuses on the co-existence of national identities, the concepts of Central Europe as a geographic space, andMitteleuropa as a cultural space. In particular, it examines the development of a cultural unity need after the fall of the AustrianEmpire, namely from the time of independent small states after the WWI, to the time of the iron curtain that reshaped thecontinent into two halves, West and East, thus delating the spirit of Mitteleuropa. As Milan Kundera wrote in 1983, at end ofWWII the civil frame of Central Europe disappeared, and only the idea of a cultural community survived for a long time. On theone hand, the "nostalgia" of Mitteleuropa, and the new policy after the fall of the Berlin’s wall, permitted to discover the drivingrole of Czech musicians from Poland to Italy, in particular from Austria to Southern-Slavic regions. On the other hand, thistrend helped to clarify their engagement in promoting a kind of Pan-Slavism, and the spread of a German-Slavic mixture ofmusical culture, in and out Austrian borderlines.
|Title of host publication||Karel Moor, musicista migrante nella Mitteleuropa del ’900: dalla Praga di Antonín Dvorák alla Trieste di Italo Svevo, fino ai nuovi paesi slavi del Sud|
|Number of pages||5|
|Publication status||Published - 2019|