List of classical music with an unruly audience response

There have been many notable instances of unruly behaviour at classical music concerts, often at the premiere of a new work or production:

See also

References

  1. Chancellor, Valerie E. (2002). "Anti-Racialism or Censorship? The 1802 Jewish Riots at Covent Garden Opera". Opera Quarterly 18 (1): 18–25.
  2. Slatin, Sonia. "Opera and Revolution: La Muette de Portici and the Belgian Revolution of 1830 Revisited", Journal of Musicological Research 3 (1979), 53–54
  3. Wasselin, Christian, "Benvenuto Cellini" on the Hector Berlioz website for a more detailed inside story of the opera
  4. Halperson, Maurice. "The Romance of Music, 56", Musical America, September 8, 1917.
  5. Nicolaisen, Jay. "The First 'Mefistofele'." 19th-Century Music, Vol. 1, No. 3 (Mar., 1978), pp. 221–222.
  6. Kennedy, Michael; Kennedy, Joyce; Rutherford-Johnson, Tim, ed. (2013). "Boito, Arrigo". The Oxford Dictionary of Music. Oxford University Press. p. 99. ISBN 978-0-19-957854-2.
  7. Payton, Rodney J. "The Music of Futurism: Concerts and Polemics", The Musical Quarterly, (1976) LXII (1): 33.
  8. Music of the Twentieth-century Avant-garde: A Biocritical Sourcebook. Greenwood Publishing Group. 2002.
  9. Barker, Andrew (1997). "Battles of the Mind: Berg and the Cultural Politics of 'Vienna 1900'", The Cambridge Companion to Berg, p. 24. Pople, Anthony, ed. ISBN 0-521-56489-1.
  10. Bullard, Truman (1971). The first performance of Igor Stravinsky's Sacre du printemps. Ann Arbor, Michigan: Ann Arbor University (microfilm copy). OCLC 937514.
  11. Pieter C. van den Toorn, "Stravinsky and The Rite of Spring", Chapter 1: Point of Order
  12. Steinberg, Michael. "Program notes", San Francisco Symphony.
  13. Peterkin, Norman. "Erik Satie's 'Parade'", The Musical Times, Vol. 60, No. 918 (Aug. 1, 1919), 426.
  14. "Springtime in Paris: Erik Satie". Music.minnesota.publicradio.org. 2000-03-01. Retrieved 2014-01-14.
  15. "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", New York Tribune, March 5, 1923.
  16. Orledge, "Erik Satie's Ballet Mercure" (1924)
  17. Key, Susan, Larry Rothe, and Thomas M. Tilson. American Mavericks. San Francisco, Calif: San Francisco Symphony, 2001.
  18. Vinton, John (January 1964). "The Case of the Miraculous Mandarin" (PDF). The Musical Quarterly L (1): 13. doi:10.1093/mq/L.1.1. Retrieved 27 April 2011.
  19. Mattis, Olivia. "Varèse's Multimedia Conception of Déserts", The Musical Quarterly, Vol. 76, No. 4 (Winter, 1992), p. 557.
  20. Boyden, Matthew, and Nick Kimberly. The Rough Guide to Opera, Rough Guides, 2002, p. 550.
  21. "Luigi Nono". Encyclopædia Britannica Online. 2014. Retrieved 28 March 2014.
  22. Ernst Schnabel, "Zum Untergang einer Uraufführung" and "Postscriptum nach dreiunddreissig Tagen", in Hans Werner Henze and Ernst Schnabel, Das Floss der Medusa: Text zum Oratorium, 47–61 & 65–79 (Munich: Piper-Verlag, 1969);
    Andrew Porter, "Henze: The Raft of the Frigate 'Medusa' – Oratorio" [record review of DGG 139428-9], Gramophone 47, no. 563 (April 1970): 1625;
    Anon. "Affären/Henze: Sie bleibt", Der Spiegel 22, no. 51 (16 December 1968): 152. (German)
  23. Schonberg, Harold. "Music: A Concert Fuss: Piece by Reich Draws a Vocal Reaction," The New York Times, January 20, 1973.
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