1965
In his March 23, 1965, review of "Artist ‘Realizes’ Taped Music and Plays Piano from Inside," New York Times critic Theodore Strongin documents a radical Town Hall performance with Max Neuhaus.
The piano "from inside": Strongin describes a performance of John Cage's Piano Concerto, in which Neuhaus, as the "realizer," physically manipulated the piano from within. This unconventional approach treated the instrument as a resonating chamber, reflecting the experimentalism of the New York School.
The review describes how Neuhaus "realized" electronic and recorded segments (likely including Cage's Fontana Mix) by blending them with live percussion and acoustic feedback.
Strongin captures the transition from the performer as a mere "player" to a constructor of sonic events. He notes the visual and aural complexity of the ensemble, which required Neuhaus to manage a "forest" of instruments and cables.