1965
In his review "Depressing Turnout for a Percussionist" for the Chicago Tribune, Robert C. Marsh criticized a solo performance by Max Neuhaus at the University of Chicago during his 1964–1965 residency.
Marsh expressed disbelief that an international virtuoso of Neuhaus's caliber—already renowned for playing Stockhausen—would perform in a nearly empty hall. He attributed the event's poor turnout to the local audience's inability to recognize a groundbreaking talent.
Marsh emphasized the performance's visual and technical intensity, highlighting the "massive battery" of percussion and electronic equipment surrounding Neuhaus.
The program likely included Neuhaus's expert interpretations of Stockhausen's Zyklus and works of the New York School, which Marsh praised for their "intellectual rigor."