1963
Ensemble and solo recital. Ensemble: MN (percussion, marimba); Malcolm Goldstein (violin); Arthur Layzer (clarinet); La Monte Young (saxophone). Conducted by Philip Corner. Ensemble work(s): Joseph Byrd, Densities II (for Clarinet, saxophone, marimba and violin). Solo work(s): Joseph Byrd, Water Music (for percussion and tape). Other works performed: James Tenney, Ergodos /2/3/; Malcolm Goldstein, Ludlow Blues; Philip Corner, High Contrast; and Joseph Jones’s “self-playing percussion assemblage,” assisted by Alison Knowles. Broadcast recording on KPFA October 11, 1963. See Parmenter, 1963. See “A Concert of New Music” aired on KPFA-FM (https://archive.org/details/C_1963_08_26) N.B. Second of two concerts organized by James Waring (first: August 19and featured compositions by Edward Boagni, George Brecht, Frank Herko), John Cage, Al Hansen, Philip Corner, Malcolm Goldstein, Al Hansen, John Herbert McDowell, James Waring, La Monte Young, Marian Zazeela). See Forde, 2013.
On August 26, 1963, Max Neuhaus performed in a seminal concert of "New Music" organized by James Waring at the Gramercy Arts Theatre in NYC. This event was the second of a two-part series that brought together the most radical voices of the Judson Dance Theater and Fluxus circles.
A rare configuration featuring Max Neuhaus (percussion/marimba), Malcolm Goldstein (violin), Arthur Layzer (clarinet), and La Monte Young (saxophone), conducted by Philip Corner.
They performed Joseph Byrd’s Densities II, a piece known for its rigorous, sparse textures that challenged traditional melodic structures.
Neuhaus gave a solo realization of Joseph Byrd’s Water Music for percussion and magnetic tape. This work is a precursor to the "perceptual hacking" analyzed in Blake Johnston's 2019 thesis, as it blurred the lines between live acoustic sound and recorded environment.