1964
In his review for the Philadelphia Bulletin (February 19, 1964), critic James Felton documents a high-energy performance by Max Neuhaus, who was then touring as the premier percussionist for Karlheinz Stockhausen.
Felton describes Neuhaus's physical mastery over a massive array of percussion instruments. This review captures Neuhaus at the peak of his career as a virtuoso.
A central focus of the concert was Stockhausen's Zyklus (Cycle), a piece where Neuhaus stood inside a circle of instruments, reading a circular score that could be started at any point and read in either direction.
Felton notes the characteristic mix of fascination and bewilderment from the Philadelphia audience, highlighting the experimental nature of the sounds—which included scrap metal and electronic resonance—that pushed the boundaries of what was considered "music" in 1964.