1968
In his January 9, 1968, review for the New York Times, Donald Henahan famously recounts a technical "catastrophe" that became a defining moment in Max Neuhaus's career.
During a recital at Carnegie Recital Hall, Neuhaus's elaborate setup, consisting of 14 loudspeakers and electronic generators, suffered a serious failure. An "open switch," or circuit malfunction, resulted in a series of deafening, involuntary screeches and silences, rather than the planned "realizations" of works by composers such as Morton Feldman and Earle Brown.
The "betrayal" of technology: Henahan's title, "Electronic Music Hits the Open Switch: Max Neuhaus's 14 Loudspeakers Betray Him," captures the precarious nature of early live electronic music. Neuhaus, known as a virtuoso percussionist, was seen grappling with "ghosts in the machine."
Despite the technical failure, Henahan noted Neuhaus's calm demeanor and his pioneering role in pushing the boundaries of the concert format. This event is often cited as the catalyst for Neuhaus's abandonment of the "unreliable" stage recital in favor of the permanent, self-contained installations he would later create, such as his Times Square opera.