Max Neuhaus

1965
Max Neuhaus, Earle Brown: Four Systems - For Four Amplified Cymbals 10:22.
West Deutsche Rundfunk Studios, Cologne, Germany, Oct 1965 (recording)

During his career as a percussionist, Max Neuhaus performed and recorded Earle Brown's Four Systems – For Four Amplified Cymbals numerous times. One of these recordings took place in October 1965 at the West Deutsche Rundfunk (WDR) studios in Cologne, Germany. 

Max Neuhaus and the interpretation of Four Systems

Technical innovation: Brown's score for Four Systems was graphically innovative and allowed the performer great freedom. Neuhaus interpreted this freedom creatively, devising a unique method for achieving a sustained and controlled sound from the cymbals, which is rare for a percussion instrument. To achieve the desired effect, he used a metal screwdriver to “rub” the edges of the cymbals.

Amplification: Neuhaus amplified the sounds of the cymbals to reveal the complex and rich harmonics that would otherwise be lost at a distance. The use of amplification was a fundamental innovation at a time when electronic music was in its infancy.

Sound experimentation: His approach to Four Systems was a pivotal moment in his career, highlighting his interest in electronic sound manipulation and his transition from performer to creator of sound installations, in which sound itself is the primary artistic material.

The significance of the WDR recording

The recording of Four Systems at the WDR studios in Cologne is particularly significant for several reasons:

Role of the WDR: At that time, West Deutsche Rundfunk was a center of excellence for electronic and experimental music, attracting leading composers and artists from around the world. The recording at this prestigious studio attests to the importance of the collaboration between Neuhaus, Brown, and the European avant-garde.

Avant-garde repertoire: The performance and recording of Four Systems took place during a period when Neuhaus was intensively performing and recording works by important avant-garde composers such as John Cage, Morton Feldman, and Karlheinz Stockhausen. The 1965 recording at WDR is a testament to this phase of his career and a historical document of fundamental importance.