RECONSTRUCTION a morality 3LP box MENGELBERG BREUKER

$

101

RECONSTRUCTION : A MORALITY

ORIGINAL 1969 3LP BOX ON STEIM RECORDING OPUS 001, HOLLAND

 REVOLUTIONARY MODERN OPERA COMPOST BY THE CREAM OF DUTCH MODERN CLASSICAL AND JAZZ COMPOSERS : LOUIS ANDRIESSEN, MISHA MENGELBERG , PETER SCHAT , REINBERT DE LEEUW AND JAN VAN VLIJMEN.

THERE'S A LOT THAT CAN BE WRITTEN ABOUT THIS PERFORMANCE, IF YOU ARE INTERESTED , PLEASE SCROLL DOWN.......

AN ESSENTIAL ITEM FOR EVERYONE INTERESTED IN DUTCH MODERN CLASSICAL AND JAZZ MUSIC.

BOX IN VG+  CONDITION, DUE TO DAMAGE ON THE FRONT [ SEE SCAN ] , OTHERWISE IN GREAT SHAPE, NO DAMAGE TO THE BOX. SCAN LOOKS A BIT DUSTED, FORGOT TO CLEAN IT BEFORE TAKING THE PICTURE

BOOKLET IN NEAR MINT CONDITON , INCLUDING INSERTS

I WILL BE SELLING SOME VERY RARE AND NICE DUTCH / EUROPEAN JAZZ RECORDS THIS WEEK, SO DO CHECK MY OTHER AUCTIONS....

shipping cost :

EUROPE : standard : $ 11.00 priority : $ 15.00 registered $ 18.00  REST OF THE WORLD : standard :  $ 16.00 priority : $ 26.00 registered $ 30.00

Performers :

John Floore, Klaas Kos, Gerard van der Vlist (trumpet)
Donald Blakeslee (tuba)
Frans van Luin, Peter Veenhuizen, Henk van Bergen (trombone)
Frans Brüggen (recorder)
Han de Vries, Carlo Ravelli, Werner Herbers (oboe)
Geert van Keulen, Hens Otter, Hans Mossel, George Pieterson (clarinet)
Leo van Oostrom, Willem Breuker, Ab van der Molen, Adri van Velzen (saxophone)
Mathieu ter Horst, Stanley Hoogland, Maarten Bon (keyboard)
Rolf Hock, Jeanette Yanikian (guitar)
Rena Scholtens, Tasso Adamopoulos, Ruth Hesseling, Lodewijk de Boer (viola)
Rene van Ast, Henk Lambooy, Anke Bouma, Piet Veenstra, Catlyn Somerwil (cello)
Anthony Woodrow (bass)
Han Bennink, Ruud van de Brink (percussion)
Pieter van den Berg, Bert Olsson, Claudine Arnaud, Yoka Berrety, Ramses Shaffy (singers)
The Netherlands Opera Choir [Cor Olthuis]
Children's Choir [Paul Hameleers]
+ actors

Composers :

Louis Andriessen, Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen (composers)
Hugo Claus, Harry Mulisch (librettists)

Content :

A is for America
B is for Bolivia
C is for Culture
D is for Devotion
E is for Eating
F is for Fantasy
G is for God
H is for Hope
I is for Illusion
J was for the Murderer
K is for Kun
L is for Lifeless
M is for Moonlight
N is for Neightbourly love
O is for War and Order
P was for Pause
Q is for Quetzalcoatl
R is for Reconstruction
S is for Salvation
T is for Time
U is for Urgent
V is for Vision
W is for Weapon
X is for the Unknown
Y is for Yankee
Z is for Zpecking

Before the first performance during the 1969 Holland Festival, Reconstructie roused already much commotion because of its main thematic content and because of the cooperation of five of the most promising and revolutionary pupils of Kees van Baaren4). Reconstructie is not just an opera. It was meant by all composers and authors involved as a political document, a statement, of the late 1960s, a multi-media production without comparison.

      And indeed, even Luigi Nono, Luciano Berio or Bernd Alois Zimmermann, of whom each has written important avant-garde, multi media opera's (the most famous example of these is probably Zimmermann's Die Soldaten) did not produce a document of such direct impact, with such an abundancy of symbolic allusions and references, with such political intentions (some politicians even were afraid it would have political implications).

            The daily and weekly newspapers commented on the political content of this morality - especially in those days of student revolts, political manifestations and general discontent among intellectuals with the status quo in the Dutch society and the world of the arts5) -, on the extraordinary combination of singing and acting, of art and pop music, of electronics and instrumental groups, of avant-garde techniques and Mozart-pastiche, but also on the fact that this opera was commissioned by the Nederlandse Opera Stichting (Netherlands Opera Foundation), which received subventions from the state, and thus this opera was indirectly paid by the Government itself.

All performances in the Theatre Carré were completely sold out. The international press reacted with mixed feelings. It wasn't easy not to criticize the political implications - especially in those days -, not to react on the anti-imperialism of the action, the fierce attack on the American intervention in Latin-America. It was all in the libretto, thrown onto the audience with much energy and will power.

            Although the music and the action on the stage, the building of a huge statue of Che Guevara, the rape of Bolivia moulded in a miniature neo-Mozart opera, the impressive singing of the god Quetzalcoatl accompanied by an electronically amplified contrabass recorder, were much acclaimed by the audience, Reconstructie hasn't been revived yet.