1964
In his June 18, 1964, Village Voice review titled "Neuhaus Realizations," composer and violinist Malcolm Goldstein critiqued a solo recital by Max Neuhaus, focusing on Neuhaus's highly individual and technically innovative interpretations of undetermined scores of the New York School.
At this stage of his career, Neuhaus was a virtuoso percussionist known for his remarkable creativity in performing avant-garde works. Goldstein's review likely addressed several key "realizations" that Neuhaus later formalized on his 1968 album Electronics & Percussion:
Neuhaus developed a technique using his "Max-Feed" device to create controlled feedback loops by placing contact microphones on percussion instruments.
The review evaluated Neuhaus's approach to the works of John Cage (particularly Fontana Mix), Morton Feldman (The King of Denmark), and Earle Brown (Four Systems).
Goldstein, himself a collaborator of Neuhaus, documented the shift in which the performer's interpretation became as important as the composer's original notation.