1964
In 1964, Philip Corner and Max Neuhaus collaborated on a series of experimental performances that blurred the lines between musical composition and perceptual experience.
These works were featured during Neuhaus's solo show at Carnegie Recital Hall in New York City on June 2, 1964.
Corner’s piece Intermission was performed in conjunction with a set of modular instructions titled Afterward, Beforehand, or Everything Max Has.
The title reflects Corner's fascination with the "edges" of performance—using the time and sounds typically considered secondary to the main event as the primary material.
The "Everything" Concept: The instruction to use "Everything Max Has" referred to Neuhaus's entire collection of percussion instruments and sound-making devices, challenging the performer to integrate his personal toolkit into a singular, exhaustive realization.