Few rival Bartók and Shostakovich in writing works both socially resonant and disruptive. Despite roots in the folk music tradition, Bartók’s beguiling ballet score, The Miraculous Mandarin, faced censorship in the composer’s home country during his lifetime. The lurid tale of prostitution, theft, fraud, and murder was deemed too depraved and perverse for the public, and its deviance emerged like a shriek from the moral vacuum of World War I.
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