Sound Commitments: Avant-Garde Music and the Sixties

By Robert Adlington | Go to book overview

3
Forms of Opposition
at the “Politiek-
Demonstratief
Experimenteel”
Concert

Robert Adlington

On May 30, 1968, the front pages of Dutch newspapers were dominated by news from the French capital. Headlines read “Paris in Confusion” and “Resignation Expected”;1 following weeks of antigovernment strikes and protests in Paris, the overthrow of President Charles de Gaulle was widely predicted. That evening, a large audience assembled at the Carre; Theatre in Amsterdam for an event that became a landmark in the musical life of the city. The “politiek-demonstratief experimenteel concert” brought together a remarkable roster of musical talent. Leading young composers Peter Schat, Louis Andriessen, and Misha Mengelberg were each represented by a new work. Schat and Andriessen had already gained a reputation as foremost carriers of the avant-garde flame following their studies with (respectively) Pierre Boulez and Luciano Berio. Mengelberg held parallel careers as composer and jazz pianist: in the early sixties he took part in Fluxus performances in the Netherlands, and at the end of 1967 he had founded the pioneering improvisation collective, the Instant Composers Pool (ICP). Mengelberg’s collaborator in the ICP, the saxophonist and composer Willem Breuker—later to become perhaps the bestknown figure in Dutch jazz—played in the ad hoc “mobiel ensemble” assembled specially for the concert. Also among the performers were Reinbert de Leeuw, later internationally known as a concert pianist and conductor of the Schonberg and Asko Ensembles; Jan van Vlijmen, since 1967 co-principal at the Hague Conservatoire, and later to become director of both the Netherlands Opera (1985–87) and the

-56-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Sound Commitments: Avant-Garde Music and the Sixties
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 292

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.