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937:, who attended the concert, recalled: "Those who experienced this Donaueschingen première will remember the scandal as long as they live. Shouts, caterwauling, and other animal noises were unleashed from one half of the hall in response to applause, foot-stamping and enthusiastic bravos from the other". Boulez was unable to attend, but, after hearing a tape of the concert, decided to withdraw the piece.
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761:, to exit. Tuesday evening performances were attended by wealthy or upper-middle-class subscribers. The political dimension of Berg's opera in this milieu and, moreover, in the context of burgeoning Czech fascism and anti-German sentiment has often been emphasized. Indeed, critics warred along political lines in the press. Authorities forbade more performances.
757:'s in Berlin). The third evening's (Tuesday) performance was interrupted by a planned demonstration in the second act before the chorus of the sleeping soldiers. This eventually culminated in its cancellation amid dueling whistling and applause. Police ordered the audience, among them Berg, his wife Helene, and
1308:, parts of the crowd clapped, whistled, and walked out. Esfahani, as he introduced the piece in English, had been ordered by a heckler to speak in German. Loud arguments between numerous members of the crowd persisted for several minutes; Esfahani stopped his performance and started playing a concerto by
1343:, who was murdered in 1975, trying to draw parallels between them as artists seen inconvenient to religious and political powers. Controversial scenes included many references to sexual violence and an invented scene of homosexual prostitution between Pasolini and his alleged killer while the song "
1082:, most performances had received lukewarm responses. This one, with Cage as performer, was met with boos and hisses. Allegedly, the orchestra failed to take the music seriously, and in so doing, effectively sabotaged it. The event was recorded, and released as part of a Bernstein retrospective set.
383:
As part of a front in Vienna's ongoing style wars, the audience booed and catcalled loudly, and some punches were thrown. Composer Alban Berg's piece was highly expressionistic, which prompted the uproar after growing tension in the crowd. The event came to be known as the
262:
organized a disruption in response to the opera's ballet being placed in the first act instead of the second, which was customary. The jockey members usually arrived in time for the second act in order to see the ballet, and did not take kindly to Wagner's dissent.
253:
The audience was unruly for several reasons. Whistling and cat-calls occurred the night before, during the premiere of the "Paris version," in response to the music, like the shepherd's piping in Act I. Wagner also did not pay the
553:
reporter wrote, "I never saw an angrier man" of Webern's taking the stage amid the fray, "as if he were going to kill". The
Quartet was able to play the music in full to an invitation-only audience the next day.
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958:
During the premiere of this piece, the audience grew agitated due to the complete silence. It consisted of three movements, and during the third movement audience members began to walk out of the performance.
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performance of the work, the conservative audience tried yelling and sarcastically applauding to hasten the end of the piece, which received both boos and cheers during the ovation. One of the performers,
1024:– setting of the play, but also a central city to Nazi propaganda. The production was booed by the audience throughout the summer of 1956, beginning a tradition of booing at future Bayreuth Festivals.
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Organized bands of right-wing agitators planted themselves in the audience and created a large commotion, directed towards the opera's supposed anti-German sentiment. It was subsequently banned by the
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An audience member began screaming at Cowell, "Stop! Stop!" and would not be quiet when shushed by audience members, leading to an attempt to drown one other out with continuous catcalling.
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Dueling factions tried to drown each other out during the ballet's premiere, unwittingly launching generations of exaggerations of what actually happened in the hall that night.
201:
Audience members at a performance in
Brussels left before the end of the opera to join planned riots that were already taking place across the city, marking the beginning of the
141:
Part of the Jewish audience catcalled because of perceived anti-Jewish slights. The melody of one of the songs in this opera greatly resembled the sacred Jewish
Kaddish prayer.
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1821:
1991:"Taxi Toots Sound Sweet After Music By Composers Guild: Many Hisses Greet Conclusion of 'Hyperprism'; Dissenters Told to Leave and Piece Is Played Over Again",
649:
The audience threw program notes at Cowell and clambered onto the stage, leading to a large physical altercation and the arrest of over 20 audience members.
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Very raucous physical altercations and verbal fights broke out within three minutes of
Antheil playing, with many distinguished guests in attendance. Artist
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1406:
1806:
1713:
1422:
Chancellor, V. E. (2002). "Anti-Racialism or
Censorship? The 1802 Jewish Riots at Covent Garden Opera and the Career of Thomas John Dibdin".
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The audience laughed throughout and hissed at the conclusion, which prompted Varèse to repeat the work in hopes of a more serious response.
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Due to
Strauss already having a poor reputation, when he was brought on out to the stage, he was met with screaming and fits of discontent.
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Mattis, Olivia (1992). "Varèse's
Multimedia Conception of Déserts". The Musical Quarterly. 76 (4): 557–583 . doi:10.1093/mq/76.4.557.
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instead. He attributed the 'pandemonium' to the choice of a modern composition, while the German media inferred a xenophobic motive.
1151:, recalls: "One woman walked down the aisle and repeatedly banged her head on the front of the stage, wailing 'Stop, stop, I confess.
286:
The audience came predisposed to drown out Boito's claqueurs and succeeded in making the music inaudible with their hisses and boos.
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One faction of the audience booed, hissed, and was generally unruly, but they were eventually silenced by an enthusiastic ovation.
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concerts, often at the premiere of a new work or production. Audience members displayed unruly behavior for a variety of reasons.
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525:'s performance to Berg, but what unfolded left him "out of sorts" and disturbed his plans to continue composing that summer. The
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2453:, "Zum Untergang einer UrauffĂĽhrung" and "Postscriptum nach dreiunddreissig Tagen", in Hans Werner Henze and Ernst Schnabel,
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1979:
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The police were called to the premiere due to unruly behavior that sprang from the
Parisian cultural infighting of the time.
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and introduced a minimalist, modernist staging. Particularly controversial was the removal of scenery depicting the city of
624:
began hurling obscenities at a fellow audience member, and Erik Satie was heard shouting, "What precision! What precision!"
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796:
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1276:, in a black dress shirt and slacks, came on a few seconds later to replace him. Alagna did not return to the production.
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flags, and after the chorus responded in protest, the police began making arrests, prompting Henze to cancel the concert.
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The premiere performance received a large ovation despite some unruly behavior in the audience, including an outburst by
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At the second performance of the work, the audience booed and threw refuse at the orchestra, and some fighting occurred.
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421:
2247:
Sprout, Leslie A. (Winter 2009). "The 1945 Stravinsky
Debates: Nigg, Messiaen, and the Early Cold War in France".
1842:
92:, a mob protesting the abolition of half-price admissions stormed the theatre in the middle of the performance.
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258:'s fee in order to prevent disruptions. The interruptions increased during the second performance, when the
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2634:"Iranian musician forced to stop Cologne concert after audience members jeer and shout 'speak German'"
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2441:, New York Philharmonic, Leonard Bernstein; Bernstein's introduction to Cage starts at 9:00 minutes.
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in the opera house's less expensive seats, he walked off stage while the music was still playing.
463:
to provide the first public demonstration of their experimental "noise-making" instruments called
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2936:
2658:"Pasolini, Character From Tosca at the Liceu (Column) | Opera Online - The opera lovers web site"
2513:
1206:
772:
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2921:
2819:
2800:
1744:
Barker, Andrew (1997). "Battles of the Mind: Berg and the
Cultural Politics of 'Vienna 1900'",
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of his own. They shouted, heckled, hissed, and jeered at Rossini's new version of the piece.
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The plot caused a commotion in the audience, which began leaving during the performance.
1347:" played in the background. All this was met with substantial booing from the audience.
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The controversy primarily stemmed from the unconventional staging of the opera at the
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1339:. The production featured Mario Cavaradossi as an alter ego of Italian film director
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described the "Salzburg affair" as "a riot ... subdued only by police intervention".
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100 Years After The Riot, The 'Rite' Remains : Deceptive Cadence : NPR
1205:
BBC received thousands of complaints after its broadcast to millions during the
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1649:
Payton, Rodney J. (1976). "The Music of Futurism: Concerts and Polemics".
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Webern attended, interrupting his summer with Schoenberg, who remained in
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2294:. Cambridge, Massachusetts: Harvard University Press. pp. 47–48.
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1672:
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1515:
Wasselin, Christian, "Benvenuto Cellini" on the Hector Berlioz website
968:
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The audience hissed at most of the music after the first few numbers.
3047:
2748:
2582:
1058:
1021:
2683:"BARCELONA / Una polémica y fallida 'Tosca' abre el año en el Liceu"
2124:
Vinton, John (January 1964). "The Case of the Miraculous Mandarin".
1919:
1901:
1877:
Music of the Twentieth-century Avant-garde: A Biocritical Sourcebook
1688:
Music of the Twentieth-century Avant-garde: A Biocritical Sourcebook
2225:
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512:
460:
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18:
716:, but there were some fistfights in the street after the concert.
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725:
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617:
2417:
John Cage, Antonin Becvar, and Leonard Bernstein Walk into a Bar
1383:– Claqueurs are hired to initiate applause, or sometimes booing.
1380:
1044:
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255:
77:
2497:"Music: A Concert Fuss: Piece by Reich Draws a Vocal Reaction"
1772:. Ann Arbor, Michigan: Ann Arbor University (microfilm copy).
30:
There have been many notable instances of unruly behaviour at
1770:
The first performance of Igor Stravinsky's Sacre du printemps
1336:
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161:
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Many audience members were supporters of the elder composer
1955:
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353:
2578:"Birtwistle at 80: the man who brought Panic to the Proms"
2097:
Affair": Modernism and the Crisis of Audience in Prague".
2083:. San Francisco, California: San Francisco Symphony, 2001.
2462:, "Henze: The Raft of the Frigate 'Medusa' – Oratorio" ,
2192:
2530:"Steve Reich: the composer with his finger on the pulse"
1601:; Kennedy, Joyce; Rutherford-Johnson, Tim, eds. (2013).
1178:
Premiere of the piece at the Horizons Festival, held at
2597:
2146:
467:
resulted in an expected fracas, with Futurists led by
1074:
Part of an avant-garde season of music featuring the
885:, protested noisily with police whistles against the
1357:
1049:
The opera's premiere was disrupted by shouts from a
2283:
2158:Anton von Webern: A Chronicle of His Life and Work
1967:Anton von Webern: A Chronicle of His Life and Work
2457:, 47–61 & 65–79 (Munich: Piper-Verlag, 1969);
1691:. Greenwood Publishing Group. 2002. p. 415.
3203:
980:The audience loudly booed and jeered the piece.
821:was interrupted by unrest, including a call for
471:fighting members of the audience in the stalls.
2077:Key, Susan, Larry Rothe, and Thomas M. Tilson.
1528:Wagner, Tannhäuser & the Jockey Club Claque
1488:and the Belgian revolution of 1830 revisited".
2631:
2547:
1182:, New York. Audience was booing and cheering.
2719:
2553:"John Adams: In The Center Of American Music"
1944:. Music.minnesota.publicradio.org. 2000-03-01
1517:for a more detailed inside story of the opera
1484:Slatin, Sonia (1979). "Opera and revolution:
1297:During a performance of the piece by Iranian
809:At the beginning of the second movement, the
2210:(January 1963). "The History of Mahahonny".
534:
2733:
1879:. Greenwood Publishing Group. p. 415.
1463:. Oxford University Press. pp. 38–41.
434:The work was met with hisses and catcalls.
2726:
2712:
2153:Moldenhauer, Hans and Rosaleen Moldenhauer
1962:Moldenhauer, Hans and Rosaleen Moldenhauer
1556:
1421:
2274:
2272:
741:Affair" the "most important event at the
449:The Meeting of Automobiles and Aeroplanes
2606:"After La Scala Boos, a Tenor Boos Back"
2455:Das Floss der Medusa: Text zum Oratorium
2044:Journal of the Royal Musical Association
2041:(1924): From Mount Etna to Montmartre".
1899:
737:Musicologist Brian S. Locke called the "
505:Five Movements for String Quartet, Op. 5
17:
2033:
1767:
1711:
1609:. Oxford University Press. p. 99.
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2604:Wakin, Daniel J. (December 13, 2006).
2575:
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2123:
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837:Rise and Fall of the City of Mahagonny
620:reportedly punched a man in the nose,
2707:
2603:
2099:The Journal of Musicological Research
2092:
1866:
2480:22, no. 51 (16 December 1968): 152.
2372:Boyden, Matthew, and Nick Kimberly.
2316:"Five classical music controversies"
2206:
2200:
1843:"Music Futurista: The Art of Noises"
3186:
2184:"Decadence and Decay: Kurt Weill's
1557:Nicolaisen, Jay (1978). "The First
13:
14:
3238:
1942:"Springtime in Paris: Erik Satie"
1792:Stravinsky and The Rite of Spring
1490:Journal of Musicological Research
1016:removed elements associated with
825:'s intervention and fist fights.
3185:
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3155:
2349:"Die Meistersinger von NĂĽrnberg"
1840:
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2468:47, no. 563 (April 1970): 1625;
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1747:The Cambridge Companion to Berg
1714:"10 of the best: Musical riots"
1705:
1679:
1642:
1623:
1214:
745:in the interwar period". There
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98:
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2093:Locke, Brian S. (2008). "The "
1607:The Oxford Dictionary of Music
1591:
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1531:
1520:
1508:
1477:
1452:
1415:
1405:, February 1763, vol. XXXIII,
1394:
992:Die Meistersinger von NĂĽrnberg
659:Five Encores to Dynamic Motion
539:" during the fourth movement.
1:
2681:Parera, Xavier (2023-01-16).
2632:Lizzie Dearden (2016-03-03).
2378:, Rough Guides, 2002, p. 550.
2037:(1998). "Erik Satie's Ballet
1750:, p. 24. Pople, Anthony, ed.
1387:
533:constantly laughed, crying "
7:
2576:Fisher, Neil (3 May 2014).
2472:"Affären/Henze: Sie bleibt"
1869:"Luigi Russolo (1885-1947)"
1712:Service, Tom (2014-12-02).
1461:Rossini: His Life and Works
1353:
889:style of the compositions.
753:its second premiere (after
459:A concert organized by the
10:
3243:
3222:History of classical music
2015:Rischitelli (2005), p. 26.
1831:", San Francisco Symphony.
1630:Ashley, Tim (2003-03-21).
547:defended Webern. A London
341:Francesco Balilla Pratella
3129:
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3018:
2972:
2892:
2855:
2799:
2769:
2762:
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2250:The Journal of Musicology
2111:10.1080/01411890701804788
1900:Peterkin, Norman (1919).
1796:Chapter 1: Point of Order
1790:Pieter C. van den Toorn,
1502:10.1080/01411897908574506
1459:Osborne, Richard (2007).
1053:faction in the audience.
873:A group of students from
469:Filippo Tommaso Marinetti
3217:Classical music concerts
3031:Unruly audience response
2532:by David Shariatmadari,
2375:The Rough Guide to Opera
1867:Thorn, Benjamin (2002).
1768:Bullard, Truman (1971).
1402:The Gentleman's Magazine
1008:A new interpretation of
743:Czechs' National Theater
2735:Western classical music
2394:Encyclopædia Britannica
2263:10.1525/jm.2009.26.1.85
1902:"Erik Satie's 'Parade'"
1207:Last Night of the Proms
773:The Miraculous Mandarin
445:The Awakening of a City
2833:Transition to Romantic
2763:Major periods and eras
2057:10.1093/jrma/123.2.229
1368:Classical music portal
819:Palazzo Chigi-Saracini
535:
27:
3212:Classical music lists
2789:Transition to Baroque
2518:Michael Tilson Thomas
2127:The Musical Quarterly
1847:www.ltmrecordings.com
1652:The Musical Quarterly
1537:Halperson, Maurice. "
1337:Gran Teatre del Liceu
1149:Michael Tilson Thomas
1076:New York Philharmonic
1012:by Wagner's grandson
521:. Webern praised the
153:The Barber of Seville
21:
3121:Worldwide traditions
3074:Classical music blog
2662:www.opera-online.com
1665:10.1093/mq/LXII.1.25
1547:, September 8, 1917.
1539:The Romance of Music
1486:La Muette de Portici
898:Four Norwegian Moods
877:'s class, including
422:Piano Concerto No. 2
260:Jockey-Club de Paris
188:La muette de Portici
2973:Students by teacher
2504:, January 20, 1973.
2163:Victor Gollancz Ltd
1982:. pp. 248–249, 663.
1972:Victor Gollancz Ltd
1425:The Opera Quarterly
1341:Pier Paolo Pasolini
1306:Kölner Philharmonie
1265:" was booed by the
1188:Harrison Birtwistle
1167:Grand Pianola Music
1094:Das FloĂź der Medusa
862:Danses concertantes
817:performance in the
801:September 13, 1928
797:String Trio, Op. 20
222:September 10, 1838
2611:The New York Times
2501:The New York Times
2432:Atlas Eclipticalis
2080:American Mavericks
2006:Rischitelli, p. 40
1827:2016-06-05 at the
1818:Steinberg, Michael
1564:19th-Century Music
1438:10.1093/oq/18.1.18
1376:Succès de scandale
1291:February 29, 2016
1251:December 10, 2006
1064:Atlas Eclipticalis
1018:German nationalism
867:February 27, 1945
815:1928 ISCM festival
778:November 27, 1926
731:November 11, 1926
570:reassured Webern.
426:September 5, 1913
400:The Rite of Spring
203:Belgian Revolution
170:who had written a
168:Giovanni Paisiello
158:February 20, 1816
135:December 18, 1802
82:At the revival of
74:February 24, 1763
28:
3199:
3198:
3094:Progressive music
2888:
2887:
2538:, 26 October 2016
2493:Schonberg, Harold
2280:Jameux, Dominique
2213:The Musical Times
2171:978-0-394-47237-9
1980:978-0-394-47237-9
1914:(918): 426–427 .
1907:The Musical Times
1886:978-0-313-29689-5
1632:"Elektra complex"
1616:978-0-19-957854-2
1470:978-0-19-518129-6
1351:
1350:
1345:Love in Portofino
1274:Antonello Palombi
1261:'s opening aria "
1212:
1211:
1136:January 18, 1973
1099:December 9, 1968
1088:Hans Werner Henze
1080:Leonard Bernstein
1068:February 6, 1964
1036:Intolleranza 1960
1010:Die Meistersinger
999:Bayreuth Festival
974:December 2, 1954
664:October 31, 1923
641:October 15, 1923
290:
289:
217:Benvenuto Cellini
173:Barber of Seville
147:Gioachino Rossini
96:
95:
24:Royal Opera House
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3144:Composers by era
3109:Video game music
3043:Musical ensemble
2845:Post-romanticism
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2327:
2326:
2312:
2306:
2305:
2290:. Translated by
2289:
2276:
2267:
2266:
2244:
2238:
2237:
2204:
2198:
2197:
2180:
2174:
2150:
2144:
2143:
2140:10.1093/mq/L.1.1
2121:
2115:
2114:
2090:
2084:
2075:
2069:
2068:
2031:
2025:
2022:
2016:
2013:
2007:
2004:
1998:
1997:, March 5, 1923.
1994:New-York Tribune
1989:
1983:
1959:
1953:
1952:
1950:
1949:
1938:
1932:
1931:
1897:
1891:
1890:
1864:
1858:
1857:
1855:
1853:
1838:
1832:
1815:
1809:
1804:
1798:
1788:
1782:
1781:
1765:
1759:
1742:
1736:
1735:
1733:
1732:
1709:
1703:
1702:
1683:
1677:
1676:
1646:
1640:
1639:
1627:
1621:
1620:
1599:Kennedy, Michael
1595:
1589:
1588:
1554:
1548:
1535:
1529:
1524:
1518:
1512:
1506:
1505:
1481:
1475:
1474:
1456:
1450:
1449:
1419:
1413:
1398:
1370:
1365:
1364:
1363:
1329:January 4, 2023
1219:
1218:
1154:
1107:Students hung a
925:October 6, 1951
894:Igor Stravinsky
875:Olivier Messiaen
857:Igor Stravinsky
823:Benito Mussolini
811:Kolisch ensemble
701:Ballet MĂ©canique
610:October 4, 1923
538:
417:Sergei Prokofiev
370:Altenberg Lieder
346:Musica Futurista
297:
296:
193:August 25, 1830
103:
102:
42:
41:
3242:
3241:
3237:
3236:
3235:
3233:
3232:
3231:
3202:
3201:
3200:
3195:
3125:
3052:
3014:
2968:
2884:
2851:
2801:Common practice
2795:
2758:
2737:
2732:
2702:
2701:
2692:
2690:
2679:
2675:
2666:
2664:
2656:
2655:
2651:
2642:
2640:
2638:The Independent
2630:
2626:
2616:
2614:
2602:
2598:
2588:
2586:
2574:
2570:
2561:
2559:
2546:
2542:
2528:
2524:
2512:
2508:
2491:
2487:
2481:
2469:
2458:
2449:
2445:
2429:
2427:
2423:
2415:
2411:
2401:
2399:
2387:
2386:
2382:
2371:
2367:
2357:
2355:
2347:
2346:
2342:
2337:
2333:
2324:
2322:
2314:
2313:
2309:
2302:
2277:
2270:
2245:
2241:
2220:(1439): 18–24.
2205:
2201:
2182:
2181:
2177:
2151:
2147:
2122:
2118:
2091:
2087:
2076:
2072:
2035:Orledge, Robert
2032:
2028:
2023:
2019:
2014:
2010:
2005:
2001:
1990:
1986:
1960:
1956:
1947:
1945:
1940:
1939:
1935:
1920:10.2307/3701903
1898:
1894:
1887:
1865:
1861:
1851:
1849:
1839:
1835:
1829:Wayback Machine
1816:
1812:
1805:
1801:
1789:
1785:
1766:
1762:
1743:
1739:
1730:
1728:
1710:
1706:
1699:
1685:
1684:
1680:
1647:
1643:
1628:
1624:
1617:
1603:"Boito, Arrigo"
1596:
1592:
1571:(3): 221–232 .
1555:
1551:
1544:Musical America
1536:
1532:
1525:
1521:
1513:
1509:
1496:(1–2): 45–62 .
1482:
1478:
1471:
1457:
1453:
1420:
1416:
1399:
1395:
1390:
1366:
1361:
1359:
1356:
1318:Giacomo Puccini
1217:
1152:
1041:April 13, 1961
908:Same as above.
902:March 15, 1945
696:George Antheil
564:Francis Poulenc
560:Arthur Honegger
550:Daily Telegraph
509:August 8, 1922
453:April 21, 1914
394:Igor Stravinsky
375:March 31, 1913
329:March 12, 1910
318:Richard Strauss
295:
247:March 14, 1861
130:Family Quarrels
101:
40:
32:classical music
12:
11:
5:
3240:
3230:
3229:
3224:
3219:
3214:
3197:
3196:
3194:
3193:
3183:
3173:
3163:
3152:
3151:
3146:
3141:
3136:
3130:
3127:
3126:
3124:
3123:
3118:
3113:
3112:
3111:
3106:
3096:
3091:
3086:
3081:
3076:
3071:
3066:
3060:
3058:
3054:
3053:
3051:
3050:
3045:
3040:
3035:
3034:
3033:
3022:
3020:
3016:
3015:
3013:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2976:
2974:
2970:
2969:
2967:
2966:
2961:
2960:
2959:
2952:United Kingdom
2949:
2944:
2939:
2934:
2929:
2924:
2919:
2914:
2913:
2912:
2902:
2896:
2894:
2890:
2889:
2886:
2885:
2883:
2882:
2877:
2872:
2867:
2861:
2859:
2853:
2852:
2850:
2849:
2848:
2847:
2837:
2836:
2835:
2825:
2824:
2823:
2820:Empfindsamkeit
2816:
2805:
2803:
2797:
2796:
2794:
2793:
2792:
2791:
2781:
2775:
2773:
2764:
2760:
2759:
2757:
2756:
2751:
2745:
2743:
2739:
2738:
2731:
2730:
2723:
2716:
2708:
2700:
2699:
2673:
2649:
2624:
2596:
2568:
2551:(2001-01-01).
2549:Frank J. Oteri
2540:
2522:
2506:
2485:
2451:Ernst Schnabel
2443:
2421:
2409:
2380:
2365:
2340:
2331:
2307:
2300:
2292:Susan Bradshaw
2268:
2239:
2226:10.2307/951087
2199:
2175:
2173:. pp. 323–324.
2145:
2116:
2085:
2070:
2051:(2): 229–249.
2026:
2017:
2008:
1999:
1984:
1954:
1933:
1892:
1885:
1859:
1833:
1810:
1799:
1783:
1760:
1737:
1704:
1697:
1678:
1641:
1622:
1615:
1590:
1577:10.2307/746412
1549:
1530:
1519:
1507:
1476:
1469:
1451:
1414:
1392:
1391:
1389:
1386:
1385:
1384:
1378:
1372:
1371:
1355:
1352:
1349:
1348:
1333:
1330:
1327:
1320:
1314:
1313:
1302:Mahan Esfahani
1299:harpsichordist
1295:
1292:
1289:
1282:
1278:
1277:
1259:Roberto Alagna
1255:
1252:
1249:
1242:
1240:Giuseppe Verdi
1236:
1235:
1232:
1229:
1226:
1223:
1216:
1213:
1210:
1209:
1203:
1200:
1197:
1190:
1184:
1183:
1180:Lincoln Center
1176:
1173:
1170:
1163:
1157:
1156:
1140:
1137:
1134:
1127:
1121:
1120:
1105:
1100:
1097:
1090:
1084:
1083:
1072:
1069:
1066:
1061:
1055:
1054:
1047:
1042:
1039:
1032:
1026:
1025:
1014:Wieland Wagner
1006:
1001:
995:
988:
986:Richard Wagner
982:
981:
978:
975:
972:
965:
964:Edgard Varèse
961:
960:
956:
953:
950:
943:
939:
938:
931:
929:Donaueschingen
926:
923:
916:
910:
909:
906:
903:
900:
895:
891:
890:
871:
868:
865:
858:
854:
853:
846:
843:
842:March 9, 1930
840:
833:
827:
826:
807:
802:
799:
794:
788:
787:
784:
779:
776:
769:
763:
762:
747:Otakar OstrÄŤil
735:
732:
729:
722:
718:
717:
710:
707:
706:June 19, 1926
704:
697:
693:
692:
689:
686:
685:June 15, 1924
683:
676:
672:
671:
668:
665:
662:
655:
651:
650:
647:
642:
639:
632:
626:
625:
622:Marcel Duchamp
614:
611:
608:
606:Sonata Sauvage
603:
601:George Antheil
597:
596:
593:
588:
587:March 4, 1923
585:
578:
572:
571:
515:
510:
507:
502:
496:
495:
492:
489:
486:
479:
473:
472:
457:
454:
451:
442:
436:
435:
432:
430:St. Petersburg
427:
424:
419:
413:
412:
409:
406:
403:
396:
390:
389:
386:Skandalkonzert
381:
376:
373:
366:
360:
359:
356:
351:
350:March 9, 1913
348:
343:
337:
336:
333:
330:
327:
320:
314:
313:
310:
307:
304:
301:
294:
291:
288:
287:
284:
281:
280:March 5, 1868
278:
271:
265:
264:
251:
248:
245:
238:
236:Richard Wagner
232:
231:
228:
223:
220:
213:
211:Hector Berlioz
207:
206:
199:
194:
191:
184:
178:
177:
164:
159:
156:
149:
143:
142:
139:
136:
133:
126:
120:
119:
116:
113:
110:
107:
100:
97:
94:
93:
80:
75:
72:
65:
59:
58:
55:
52:
49:
46:
39:
36:
9:
6:
4:
3:
2:
3239:
3228:
3225:
3223:
3220:
3218:
3215:
3213:
3210:
3209:
3207:
3192:
3184:
3182:
3178:
3174:
3172:
3164:
3162:
3154:
3153:
3150:
3147:
3145:
3142:
3140:
3137:
3135:
3132:
3131:
3128:
3122:
3119:
3117:
3114:
3110:
3107:
3105:
3102:
3101:
3100:
3097:
3095:
3092:
3090:
3089:New-age music
3087:
3085:
3082:
3080:
3077:
3075:
3072:
3070:
3067:
3065:
3062:
3061:
3059:
3055:
3049:
3046:
3044:
3041:
3039:
3036:
3032:
3029:
3028:
3027:
3024:
3023:
3021:
3017:
3011:
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2977:
2975:
2971:
2965:
2964:United States
2962:
2958:
2955:
2954:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2933:
2930:
2928:
2925:
2923:
2920:
2918:
2915:
2911:
2908:
2907:
2906:
2903:
2901:
2898:
2897:
2895:
2891:
2881:
2878:
2876:
2873:
2871:
2868:
2866:
2863:
2862:
2860:
2858:
2854:
2846:
2843:
2842:
2841:
2838:
2834:
2831:
2830:
2829:
2826:
2822:
2821:
2817:
2815:
2812:
2811:
2810:
2807:
2806:
2804:
2802:
2798:
2790:
2787:
2786:
2785:
2782:
2780:
2777:
2776:
2774:
2772:
2768:
2765:
2761:
2755:
2754:Dates of eras
2752:
2750:
2747:
2746:
2744:
2740:
2736:
2729:
2724:
2722:
2717:
2715:
2710:
2709:
2706:
2688:
2684:
2677:
2663:
2659:
2653:
2639:
2635:
2628:
2613:
2612:
2607:
2600:
2585:
2584:
2579:
2572:
2558:
2554:
2550:
2544:
2537:
2536:
2531:
2526:
2519:
2515:
2510:
2503:
2502:
2498:
2494:
2489:
2479:
2478:
2473:
2467:
2466:
2461:
2460:Andrew Porter
2456:
2452:
2447:
2440:
2436:
2433:
2425:
2418:
2413:
2397:
2395:
2390:
2384:
2377:
2376:
2369:
2354:
2353:Wagner Operas
2350:
2344:
2335:
2321:
2317:
2311:
2303:
2301:0-674-66740-9
2297:
2293:
2288:
2287:
2286:Pierre Boulez
2281:
2275:
2273:
2264:
2260:
2256:
2252:
2251:
2243:
2235:
2231:
2227:
2223:
2219:
2215:
2214:
2209:
2203:
2195:
2194:
2189:
2187:
2179:
2172:
2168:
2164:
2160:
2159:
2154:
2149:
2141:
2137:
2133:
2129:
2128:
2120:
2112:
2108:
2104:
2100:
2096:
2089:
2082:
2081:
2074:
2066:
2062:
2058:
2054:
2050:
2046:
2045:
2040:
2036:
2030:
2024:Sachs, p. 117
2021:
2012:
2003:
1996:
1995:
1988:
1981:
1977:
1973:
1969:
1968:
1963:
1958:
1943:
1937:
1929:
1925:
1921:
1917:
1913:
1909:
1908:
1903:
1896:
1888:
1882:
1878:
1874:
1870:
1863:
1848:
1844:
1841:Nice, James.
1837:
1830:
1826:
1823:
1822:Program notes
1819:
1814:
1808:
1803:
1797:
1793:
1787:
1779:
1775:
1771:
1764:
1757:
1756:0-521-56489-1
1753:
1749:
1748:
1741:
1727:
1723:
1719:
1715:
1708:
1700:
1698:9780313296895
1694:
1690:
1689:
1682:
1674:
1670:
1666:
1662:
1658:
1654:
1653:
1645:
1637:
1633:
1626:
1618:
1612:
1608:
1604:
1600:
1594:
1586:
1582:
1578:
1574:
1570:
1566:
1565:
1560:
1553:
1546:
1545:
1540:
1534:
1527:
1523:
1516:
1511:
1503:
1499:
1495:
1491:
1487:
1480:
1472:
1466:
1462:
1455:
1447:
1443:
1439:
1435:
1431:
1427:
1426:
1418:
1412:
1408:
1404:
1403:
1397:
1393:
1382:
1379:
1377:
1374:
1373:
1369:
1358:
1346:
1342:
1338:
1334:
1331:
1328:
1326:
1325:
1321:
1319:
1316:
1315:
1311:
1310:C. P. E. Bach
1307:
1303:
1300:
1296:
1293:
1290:
1288:
1287:
1283:
1280:
1279:
1275:
1272:
1268:
1264:
1260:
1256:
1253:
1250:
1248:
1247:
1243:
1241:
1238:
1237:
1233:
1230:
1227:
1224:
1221:
1220:
1208:
1204:
1201:
1198:
1196:
1195:
1191:
1189:
1186:
1185:
1181:
1177:
1174:
1171:
1169:
1168:
1164:
1162:
1159:
1158:
1150:
1145:
1144:Carnegie Hall
1141:
1138:
1135:
1133:
1132:
1128:
1126:
1123:
1122:
1118:
1114:
1110:
1106:
1104:
1101:
1098:
1096:
1095:
1091:
1089:
1086:
1085:
1081:
1078:conducted by
1077:
1073:
1070:
1067:
1065:
1062:
1060:
1057:
1056:
1052:
1048:
1046:
1043:
1040:
1038:
1037:
1033:
1031:
1028:
1027:
1023:
1019:
1015:
1011:
1007:
1005:
1002:
1000:
996:
994:
993:
989:
987:
984:
983:
979:
976:
973:
971:
970:
966:
963:
962:
957:
954:
951:
949:
948:
944:
941:
940:
936:
935:Antoine Goléa
933:Musicologist
932:
930:
927:
924:
922:
921:
917:
915:
914:Pierre Boulez
912:
911:
907:
904:
901:
899:
896:
893:
892:
888:
884:
883:Pierre Boulez
880:
876:
872:
869:
866:
864:
863:
859:
856:
855:
851:
847:
844:
841:
839:
838:
834:
832:
829:
828:
824:
820:
816:
812:
808:
806:
803:
800:
798:
795:
793:
790:
789:
785:
783:
780:
777:
775:
774:
770:
768:
765:
764:
760:
756:
755:Erich Kleiber
752:
748:
744:
740:
736:
733:
730:
728:
727:
723:
720:
719:
715:
711:
708:
705:
703:
702:
698:
695:
694:
690:
687:
684:
682:
681:
677:
674:
673:
669:
666:
663:
661:
660:
656:
654:Henry Cowell
653:
652:
648:
646:
643:
640:
638:
637:
633:
631:
628:
627:
623:
619:
615:
612:
609:
607:
604:
602:
599:
598:
594:
592:
589:
586:
584:
583:
579:
577:
576:Edgard Varèse
574:
573:
569:
565:
561:
557:
552:
551:
546:
542:
537:
532:
531:Wilhelm Grosz
528:
524:
520:
516:
514:
511:
508:
506:
503:
501:
498:
497:
493:
490:
488:May 18, 1917
487:
485:
484:
480:
478:
475:
474:
470:
466:
462:
458:
455:
452:
450:
446:
443:
441:
440:Luigi Russolo
438:
437:
433:
431:
428:
425:
423:
420:
418:
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3079:Experimental
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2880:21st-century
2875:20th-century
2870:Contemporary
2818:
2691:. Retrieved
2689:(in Spanish)
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2389:"Luigi Nono"
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1718:The Guardian
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548:
536:'furchtbar!'
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523:Amar Quartet
519:Traunkirchen
500:Anton Webern
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3227:Music riots
3191:WikiProject
3084:Light music
3069:Baroque pop
3064:Avant-garde
3019:Performance
2784:Renaissance
2771:Early music
2617:January 31,
2557:NewMusicBox
2482:(in German)
2477:Der Spiegel
2320:www.bbc.com
2208:Drew, David
1852:3 September
1559:Mefistofele
1286:Piano Phase
1267:loggionisti
1257:When tenor
1131:Four Organs
1125:Steve Reich
1109:Che Guevara
1051:neo-fascist
767:BĂ©la BartĂłk
759:Alma Mahler
721:Alban Berg
675:Erik Satie
568:Jean Wiéner
545:Rudolf Ganz
275:Mefistofele
84:Thomas Arne
63:Thomas Arne
3206:Categories
3104:Film score
3099:Soundtrack
3038:Conducting
2957:Birmingham
2893:By country
2742:Definition
2693:2024-01-16
2667:2024-01-16
2643:2018-10-28
2562:2020-01-26
2465:Gramophone
2419:, greg.org
2325:2024-05-08
2161:. London:
1970:. London:
1948:2014-01-14
1731:2024-05-08
1411:HathiTrust
1388:References
1332:Barcelona
1271:Understudy
1161:John Adams
1030:Luigi Nono
942:John Cage
879:Serge Nigg
831:Kurt Weill
714:Ezra Pound
582:Hyperprism
541:Adolf Loos
477:Erik Satie
364:Alban Berg
242:Tannhäuser
89:Artaxerxes
69:Artaxerxes
3149:Festivals
3048:Orchestra
2900:Australia
2865:Modernism
2857:New music
2828:Classical
2749:Art music
2583:The Times
2358:29 August
2257:(1): 86.
2186:Mahagonny
2134:(1): 13.
2105:: 63–98.
1726:0261-3077
1446:191511631
1231:Location
1222:Composer
1175:New York
1139:New York
1071:New York
1059:John Cage
1022:Nuremberg
955:New York
852:in 1933.
461:Futurists
309:Location
300:Composer
115:Location
106:Composer
86:'s opera
54:Location
45:Composer
3171:Category
2840:Romantic
2779:Medieval
2402:28 March
2282:(1991).
2155:(1978).
1964:(1978).
1825:Archived
1354:See also
1294:Cologne
1234:Details
1004:Bayreuth
845:Leipzig
636:Antinomy
591:New York
513:Salzburg
312:Details
197:Brussels
118:Details
57:Details
3161:Outline
3057:Related
3026:Concert
2932:Ireland
2927:Germany
2809:Baroque
2687:Scherzo
2589:7 March
2439:YouTube
2434:(audio)
2095:Wozzeck
2039:Mercure
1928:3701903
1875:(ed.).
1541:, 56",
1304:in the
1202:London
1103:Hamburg
969:DĂ©serts
782:Cologne
751:Wozzeck
739:Wozzeck
734:Prague
726:Wozzeck
680:Mercure
667:Vienna
645:Leipzig
618:Man Ray
332:London
324:Elektra
138:London
3181:Portal
3139:Genres
3010:T to Z
3005:R to S
3000:N to G
2995:K to M
2990:G to J
2985:C to F
2980:A to B
2947:Russia
2942:Kosovo
2922:France
2917:Canada
2905:Brazil
2814:Galant
2520:, 1997
2470:Anon.
2430:Cage:
2398:. 2014
2396:Online
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1585:746412
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1409:– via
1381:Claque
1254:Milan
1225:Title
1115:, and
1045:Venice
977:Paris
905:Paris
870:Paris
709:Paris
688:Paris
613:Paris
566:, and
491:Paris
483:Parade
456:Milan
408:Paris
379:Vienna
303:Title
283:Milan
256:claque
250:Paris
109:Title
78:London
48:Title
26:, 1763
3134:Lists
2937:Italy
2514:Essay
2230:JSTOR
2061:JSTOR
1924:JSTOR
1871:. In
1669:JSTOR
1581:JSTOR
1442:S2CID
1407:p. 97
1324:Tosca
1228:Date
1199:1995
1194:Panic
1172:1982
1142:At a
1117:Black
997:1956
952:1952
947:4'33"
850:Nazis
805:Siena
749:gave
306:Date
226:Paris
162:Milan
112:Date
51:Date
2619:2018
2591:2019
2404:2014
2360:2023
2296:ISBN
2167:ISBN
1976:ISBN
1881:ISBN
1854:2016
1774:OCLC
1752:ISBN
1722:ISSN
1693:ISBN
1611:ISBN
1465:ISBN
1246:Aida
881:and
543:and
354:Rome
2437:on
2259:doi
2222:doi
2218:184
2193:NPR
2136:doi
2107:doi
2053:doi
2049:123
1916:doi
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1573:doi
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