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Slowly, the chords are deconstructed, causing overlapping notes and dissonance. The stabs of repeating chords from four electric organs. Students were hauled off, as was Schnabel. Then anarchists in the audience raised black flags. Other students raised a red flag and a second portrait of Che. During its debut performance in Hamburg, Germany in 1968, a student hung a poster of Che over the balcony. That should’ve been an indication that there was trouble ahead.
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Henze and writing partner Ernst Schnabel wrote this piece as a requiem for revolutionary Che Guevara. Hans Werner Henze, The Raft of the Medusa Satie was sentenced to eight days in jail. One critic penned such a harsh review that Satie sent him a postcard that read “Sir and dear friend-you are an arse, an arse without music!” The critic sued Satie, and at the trial, fellow author Cocteau was beaten by police for repeatedly yelling “arse” in the courtroom. When it debuted in 1917, audiences booed and walked out of the theater. And the score incorporated a ragtime section. The orchestra included such non-instruments as a typewriter, a foghorn and a milk bottle. Some of Picasso’s cubist-inspired costumes were solid cardboard, restricting the dancers’ movements. Given the authors, it was naturally an unorthodox presentation. Erik Satie, ParadeĪ collaboration between Erik Satie, Pablo Picasso and Jean Cocteau, this ballet was about circus performers trying to attract an audience to a show. Police were called in, as the composer fled the theater in shock. And as arguments broke out amongst the crowd about the merits of Stravinsky’s work, punches were thrown. It was more World Wrestling Federation than Swan Lake. Stravinsky hit them with dissonant notes, strange harmonies, and weird choreography that had dancers striking angular positions, then hitting the floor in bone-jarring heaps. The Parisian audience that turned out for the ballet on May 29, 1913, was accustomed to music and dancing that was graceful, pretty, and elegant. Within four months, Belgium had seceded from rule by the Netherlands and been recognized as an independent nation. During the opera’s patriotic duet “Amour sacré de la patrie,” a riot broke out in the theater and became the rallying signal for the Belgian Revolution. In August, a month after the French Revolution of 1830, it was performed in Brussels.
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It debuted in Paris in 1828, but it was its revival two years later that stirred the fires of freedom. Auber’s five-act opera (the title translates as The Mute Girl of Portici), regarded as the earliest French grand opera, was a revolutionary work in the most literal sense.