Tomorrow is the Question: New Directions in Experimental Music Studies. To learn even more about Maggie Molloy, check out her host bio page. They will not only celebrate a fractured master but seek to change what Eastman could not, certainly not single-handedly: a largely white male avant-garde that’s learning to make room for other stories, and other visions. John Cage, Julius Eastman, and the Homosexual Ego. Maggie: I think Meredith Monk, John Cage, and Julius Eastman would have plenty to talk about Maybe Cage could whip up one of his famous mushroom recipes. 10, that includes concerts, performances, and an exhibition. music ensemble, Eastman tackled John Cage’s koan-like instructions for Solo for Voice No. In 1975, as a member of the experimental S.E.M. There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Young musicians, queer artists, and others who champion Eastman’s singular vision are gathering at the Kitchen for a tribute, Jan. Eastman was nominated for a Grammy in 1974 for his recording of Peter Maxwell Davies’ Eight Songs for a Mad King. The current Eastman revival has been led by the brilliant composer Mary Jane Leach, who has done much to help reconstruct the music and who, along with the historian Renée Levine Packer, helped put out “Gay Guerrilla: Julius Eastman and His Music,” an essential text about the artist. The love and support that follow him now are very touching. Many of his compositions had been thrown out when he failed to pay the rent for his East Village apartment. He wanted an academic position in order to keep going, but it didn’t come through he didn’t go along to get along, which is part of his genius, and his tragedy. He performed in radical theatre, and gave performances that were better understood as politicised performance art one controversial performance of a John Cage piece left the usually. He married political meaning to works for cello and piano which always sounded like the voice-his voice.Įastman, it seems, was a man filled with longing, and with dashed hopes that he helped dash. ![]() scandals like his June 1975 performance of John Cages Song Books. His controlled-chance compositions are as bold as his titles, and, as one of the few blacks to gain recognition in the downtown avant-garde music scene (he moved to Manhattan in 1976), Eastman talked about race in his work at a time when many other composers were dealing with pure sound and repetition. A compelling portrait of composer-performer Julius Eastmans enigmatic and intriguing. Eastman composed what he called “organic music”: each phrase of a piece contained a bit from the previous phrase-but then he might erase some phrases.
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