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                    <text>Creative

Associate Recital
April 19, 1970

Domus

6

8:30 P. M.

Ronald Peters, Pianist

Robert Ricci

Chaconne (1966)......................................

Sonata (1960)....................................................................... Walter Kaufmann
Moderate
Calmo e semplice
Moderato
Andanto

Scherzo (1958).................................................................... Lejaren Hiller

Prologue
Scherzo
Epilogue
*

Intermission

*

Julius Eastman, Composer-Choreographer
The Moon's Silent Modulation

Dancers:
Orchestra:

Vocal Soloists :

Dobbio Abrams

Mary Fulkorson

Kenneth Fung
Judy Kleen
Diane Williams
Cherl Grant
Marijke Verberne

Carl Singletary

Joe DiNatale
Frederick Stroud
Robert Gantrick
William Furioso
Donald Johnson

Donna Mathewson
Sam Herr
Rodney Brown
Carol Latham
with members of

Jongleurs, Schola Cantorum
and

MR. Blakes's Sixth Grade from
the Thomas Edison Elementary School

Carlo Pinto, Conductor
Julius Eastman, Music, Libretto &amp; Choreography
Ed Cox, Lighting

Donald Burkhardt, Costumes
George Ritscher, Audio

�</text>
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                    <text>State University of New York at Buffalo
Department of Music
presents

Creative Associates At Domus
Julius Eastman, Composer-Choreographer

Ronald Peters, Pianist
presenting

The Moon’s Silent Modulation (Ballet)

�</text>
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                    <text>32

Buffalo Courier - Express, Sunday, April 19,

1970 -----------------------------------------------------------------------------

Julius Eastman Works Scheduled
Composer-Choreographer Looks Beyond Earth for His Ideas
The

tween. This block moves, shrinks
be
to a unison.
“Thruway” involves movement
by the performers, the musi
cians, who are stationed in dif
ferent rooms of the Sculpture
Court.
The musicians shift
around and come together in
different patterns.

By Tom Putnam
Musical-Dramatic

works of Julius Eastman are
certainly not small, pinched con
ceptions. Without losing sight of
man, Eastman looks beyond the
planet to the moon and sun and
stars to the universe of con
flicting forces.
Eastman is a composer who
thinks of music in terms of
dance, which is natural, for he
also is a dancer and choreo
grapher. His new ballet, “The
Moon’s Silent Modulation," is
described as having “blocks of
sound that enter and exit." The
moon itself is musical with its
rhythms of movement, the “si
lent modulation."
“Thruway” is another East
man work for instrumental en
semble, singers and tape. It is,
of course, more than a descrip
tion of the four-lane strip.
Eastman Imagined “Thru

way” while he was riding on the
Thruway to New York. It is
about the history of the world
or the universe,” Eastman ex
plained recently. “It is how I
vision the beginning, the devel
opment of the world, wars, the
death of planets, reincarnation.”
Both “The Moon’s Silent
Modulation” and “Thruway”
will be presented on programs
by the University of Buffalo
Center of the Creative and Per
forming Arts, where Eastman
is a Creative Associate.
The ballet will be performed
on a program at 8:30 P.M. today
at Domus, 1695 Elmwood Ave.
Also on the program will be
Ronald Peters, Creative asso
ciate and instructor at the Villa
Maria Institute of Music, who
will play piano works by Robert
Ricco, Walter Kaufman and
Lejaren Hiller. There is no ad
mission charge.
“Thruway” Will be pre
sented on the Evenings for New
Music program May 3 at the
Albright-Knox Art Gallery. It

Deborah Abrams will dance in ballet by Julius Eastman
... "The Moon’s Silent Modulation"
will be done after Intermission
in the Sculpture Court.
Eastman’s “The Moon’s Silent
Modulation” is “an allegory”
which describes “the ego mech
anism.” The conflict is between
the sun and the earth. “Each
considers itself superior,” East
man said.
“Because of the racket the
moon moves out of orbit,” East
man explained, “and there is
a great disturbance.” The moon
does finally come back, how
ever.
“It is a simple work—clear,
almost religious,” he explained.
The message is that “There are
no superior persons or beings
that can be Identified.”
The Dancers in the perfor
mance are Deborah Abrams,
Mary Fulkerson and Carl Sin
gletary. Carlo Pinto will con
duct the chamber orchestra and
chorus.
Eastman has written a dra
matic poem for his ballet, which

he will read in the performance.
The other performers include
William Furioso, percussion,
and Robert Cantrick, flute.
Eastman has composed nu
merous works — songs, piano
pieces, symphonies. A previous
outerspace work is “Star Jaz
zer,” for string quartet and
voice.
The significant thing about
“The Moon’s Silent Modulation’’
for Eastman the composer is
that it is the first work in which
he used graphic notation and
“dealt with things other than
notes.”
The Graphic score indi
cates blocks of sounds which
are organized fugally. The
fugue is real, and it also is
a play of entrances and exits, a
counterpoint of blocks of sound.
One such block is formed
when the chorus sings “between
E and F” — not E and not F
specifically, but the space

Eastman Is interested in
making dances that can be done
by musicians. In an earlier re
cital this season he had the per
formers — who were playing
separate, non-related pieces —
move on stage at a snail’s pace.
One performer would be walk
ing onto the stage during the per
formance of another. This mu
sical recital was thus actually
a dance, a slow choreography
that unified disparate events.
Performers in “Thruway” in
clude musicians from the UB
Center, and the East High School
A Capella Choir, directed by
Donald Hilliard. Eastman will
conduct.
It Is Quite natural for East
man to want to involve the per
formers in more than the usual
tasks. He himself is a handful of
talents — composer, choreogra
pher, poet, singer and pianist.
More than that, probably. “This
play the violin is going out of
business of just being able to
style,” Eastman said.

�</text>
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                <text>State University of New York at Buffalo. Music Library</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199337">
                <text>1970-04-19</text>
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            <name>Contributor</name>
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            <elementTextContainer>
              <elementText elementTextId="1199338">
                <text>Music Library</text>
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              <elementText elementTextId="1199344">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199345">
                <text> LIB-MUS024</text>
              </elementText>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915638">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).&lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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                <text>UB Only</text>
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                    <text>[April 14, 1970]

Earth, Moon and Sun
Have Star Roles
In Dance Sunday
In the upcoming premiere of
“The Moon’s Silent Modulation”
The Earth dances around The
Sun in adoring tribute. They
both regard The Moon as sort of
inert, and force it to go away.
There is a grave galactic
disturbance and The Sun and
The Earth, about to crash headon, plead for The Moon to come
back and restore the balance,
which it does. Everybody con
tributes, even if they don’t look
it.
It’s by Julius Eastman, UB
Creative Associate, on an ad
mission-free double bill with a
piano recital by Ronald Peters,
Sunday at 8:30 PM in Domus
arts center, 1695 Elmwood Ave.
The ballet will be danced by
Carl Singletary, Debbie Abrams
and Mary Fulkerson, with in
struments, chorus and five
actor-narrators directed by Ed
Smith.
Pianist Peters, also a Creative
Associate and Villa Maria
faculty member, has performed
in Carnegie Recital Hall and
other noted musical arenas. He
has chosen a middle-sized but
challenging program:
The Scherzo of Lejaren Hiller,
nationally known UB Slee Com
poser; the 1960 Sonata of Walter
Kaufmann, widely recognized
Czech composer now on Indiana
University faculty.

�</text>
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          <element elementId="50">
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              <elementText elementTextId="1199304">
                <text>Earth, moon and sun have star roles in dance Sunday</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199305">
                <text>Eastman, Julius </text>
              </elementText>
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                <text> Music--New York (State)--Buffalo</text>
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              <elementText elementTextId="1199307">
                <text>Type of clipping: Announcement </text>
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              <elementText elementTextId="1199309">
                <text> With references to the following works by Julius Eastman: Moon's Silent Modulation</text>
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                <text> With references to the following additional composers: Lejaren Hiller</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="1199311">
                <text>Evening News (Buffalo, N. Y.)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1199312">
                <text>State University of New York at Buffalo. Music Library</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199313">
                <text>1970-04-14</text>
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            <elementTextContainer>
              <elementText elementTextId="1199314">
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                <text>eastman_041</text>
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            <elementTextContainer>
              <elementText elementTextId="1199320">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199321">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915639">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).&lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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            <name>Audience</name>
            <description>A class of entity for whom the resource is intended or useful.</description>
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              <elementText elementTextId="1916421">
                <text>UB Only</text>
              </elementText>
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  <item itemId="77357" public="1" featured="0">
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                <elementTextContainer>
                  <elementText elementTextId="1992035">
                    <text>Buffalo Evening News [March 31, 1970]
Baird Hall

Creative Soloists
Come On Slow,
End It With Poe
By John Dwyer
Those of us arriving 10 min
utes or so before concert time
found the opening piano soloist
already advancing across Baird
Hall stage.
Head down, eyes closed, inch
ing one foot ahead of the other,
Julius Eastman was moving at
about an eighth of a mile per
hour. Even if he lived fairly
close to the campus he must
have started out about 4 PM.
He finally made it to the key
board and played the storm-rum
bling bass and flickering upper
chords of Victor Grauer’s “But
for the Rain.”
Well before he finished, cellist
Marijke Verberne loomed in the
entrance and headed for the
chair, traversing the 20 feet
handily in several minutes.
Just as MR. Eastman closed
she began her solo to taped
electronic effects in “Synchron
ism 3” by Davidovsky, rather
lyric and lovely with odd sounds.
* * *

And So the UB Creative As
sociates recital continued Mon
day evening, six modern works
linked in continuous perform
ance and making a kind of slowmotion theater out of the change
of performers.
MR. Eastman, who is also an
accomplished basso, sang the
“Mirages” of Ann Silsbee, with
accompaniment by cellist Ver
berne and Stephen Manes on the
harpsichord tuned in quarter
tones. MR. Eastman used an
eerie falsetto with great skill,
bending the pitches in slight
curves in various symmetries
and contrasts with cello and
keyboard.
Trombonist James Fulkerson
played “Big Trombone” by
Philip Corner, a lively, fitful
solo to a taped, recurring jazz
combo sequence, the ancient
chaconne form in modern terms.
Soprano Gwendolin Sims sang
“Kuyas” by Harry Somers, a
beautiful verse setting in the
Cree language by this gifted
Canadian composer, with accom
panying figures by flutist John
Heitmann and percussionist Jan
Williams. A fine, sensitive per
formance.
* * *
MR. Eastman closed with a
chilling reading from Poe with
just partially intelligible effect,
and intended so in the taped
electronic surge of a piece titled
“Puip” by Czech composer Petr
Kotik, the dials operated by
technician George Ritscher.
As a score, it was properly
weird and full of inventive at
mospherics. As a reading it was
outlandishly melodramatic, MR.
Eastman seated in a scarletdraped chair, moaning, chortl
ing, whispering, howling and
then, apparently scaring himself
half to death, running off stage
in a fright-driven finale.
It was a Philharmonic benefit,
but these young composers vir
tually assured themselves the
small audience they got, by the
slim advance information pro
vided and no details at all on
the enterprising ideas and thea
trics in store.

�</text>
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                  <text>Julius Eastman Clippings Database, 1968-1979</text>
                </elementText>
              </elementTextContainer>
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    <itemType itemTypeId="1">
      <name>Document</name>
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    <elementSetContainer>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199283">
                <text>Creative soloists come on slow, end it with Poe</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199284">
                <text>Eastman, Julius </text>
              </elementText>
              <elementText elementTextId="1199285">
                <text> Music--New York (State)--Buffalo</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199286">
                <text>Type of clipping: Concert review </text>
              </elementText>
              <elementText elementTextId="1199287">
                <text> Date of event: 1970-03-30</text>
              </elementText>
              <elementText elementTextId="1199288">
                <text> With references to the following additional composers: Victor Grauer, Davidovsky, Ann Silsbee, Philip Corner, Harry Somers, Petr Kotik </text>
              </elementText>
              <elementText elementTextId="1199289">
                <text> Note: Eastman as performer in Grauer, Silsbee, and Kotik pieces</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199290">
                <text>Dwyer, John</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="1199291">
                <text>Evening News (Buffalo, N. Y.)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1199292">
                <text>State University of New York at Buffalo. Music Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199293">
                <text>1970-03-31</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199294">
                <text>Music Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
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              <elementText elementTextId="1199296">
                <text>clippings (information artifacts)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1199297">
                <text>Image </text>
              </elementText>
              <elementText elementTextId="1199298">
                <text> Still image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1199299">
                <text>eastman_040</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="105">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
            <elementTextContainer>
              <elementText elementTextId="1199300">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199301">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915640">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).&lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="121">
            <name>Audience</name>
            <description>A class of entity for whom the resource is intended or useful.</description>
            <elementTextContainer>
              <elementText elementTextId="1916422">
                <text>UB Only</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="77356" public="1" featured="0">
    <fileContainer>
      <file fileId="77821">
        <src>https://digital.lib.buffalo.edu/files/original/23f8156186b353da0e323128101a8574.pdf</src>
        <authentication>457f16aaea8f58fbbb6d869832c5a31d</authentication>
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            <name>PDF Text</name>
            <description/>
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              <element elementId="86">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="1992036">
                    <text>Courier Express

[March 31, 1970]

Review

Recital at UB Results
In Total Theater Piece
By Thomas Putnam
began playing Mario Davidov
The traditional concert is a sky’s “Synchronism 3” for
succession of various pieces cello and tape while the final
separated by audience applause resonant chord of Grauer’s
piece was still active;
and having, usually, little con
tinuity. Even a concert of works Often Amusing
by one composer—string quar
So the concert went. The
tets by Beethoven, say—is less
a unified experience than it is choreography was often amus
distinct impressions formed by ing. Eastman arrived to turn
pages for Miss Verberne, and
Opus This and Opus That.
Julius Eastman and Marijke was in place for the next piece,
Verberne, who designed the Ann Silsbee’s quarter-tone “Mi
rages” for quartertone harpsi
Creative Associate recital Mon
day night in UB Baird Hall, chord (Stephen Manes), cello
were successful in abolishing and bass voice (Eastman was
lines between the pieces on smooth with oo’s and a variety
their program and making the of funny mouth sounds).
concert a total theater piece.
The strictly musical continuity
between Davidovsky and Silsbee
Uninterrupted by Applause
was provided by Miss Verberne’s
A name for the event might cello, which ends the one and
have been "Entrances and begins (solo) the other.
Exits (Slowly): Continuous
Entrance From Back
Play.” Six pieces were per
formed “attacca” — without
James Fulkerson entered from
pause, without interfering audi
the back of the hall, holding his
ence applause. Each piece was trombone’s plumber’s helper, for
begun by “Getting in Position.” Philip Corner’s “Big Trombone”
a slow walk-on dance which —a non-dialogue between taped
happened during the perform
rock ’N' roll and bass trombone.
ance of the previous piece. Meanwhile, Gwendolin Sims was
Thus the separate pieces were coming on to sing Harry Som
welded by movement.
More. The entire concert was ers’s lovely “Kuyas” (sung in
joined with life. As the audience the Cree Indian language), and
was arriving, Eastman, on his flutist John Heitmann and per
way to the piano, seemed to cussionist Jan Williams inched
be pacing off the stage floor, along to join her.
The closing electronic work by
or testing it for weak spots.
He eventually arrived at the Petr Kotik, “Puip,” was supplied
piano, where he played Victor by Eastman with a dramatic
Grauer’s “But for the Rain,” reading of a story by Poe. East
a piece of low, loud vibrations. man’s eerie entrance through a
That was the performer for the door at the back of the stage
next piece sneaking into view involved his neatly ducking un
on stage left—Miss Verberne, der the flute of Heitmann, who
who when she finally was ready was still playing Somers.

�</text>
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                    <text>Creative

Associate

Recital

5

a benefit for the Buffalo Philharmonic Orchestra
Baird Hall

March 30, 1970

8:30 P.M.

But For The Rain
for piano solo............................................................... Victor Grauer
Julius Eastman

Synchronism 3
for cello and electronic sounds............... Mario Davidovsky
Marijke Verberne

Mirages
for quartertone harpsichord,
cello, bass voice..................................................... Ann Silsbee
Stephen Manes, Marijke Verberne, Julius Eastman

Big Trombone
for tape and bass trombone............................... Philip Corner

James Fulkerson

Kuyas
for soprano, flute, percussion........................... Harry Somers

Gwendolin Sims, John Heitmann, Jan Williams

Puip............................................................................................................. Petr Kotik
Julius Eastman, speaker
George Ritscher, Audio Technician

minimum

contribution

$1.00

�</text>
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                    <text>Review

Courier Express

[February 26, 1970]

‘Agape’
Presented
By Thomas Putnam
A ceremonial dance by the
spectators to rock music was the
conclusion to “Agape: An Elec
tronic Masque,” the work of
composer Larry Austin and
Pictures on Pages 14 and 15
sculptor Leland Lubbers. It was
presented Wednesday night in
the Sculpture Court of the Al
bright-Knox Art Gallery. The
event, part of the centennial
celebration of Canisius College,
will be repeated tonight.
The opening procession from
the gallery auditorium to the
sculpture court was led by the
chorus — members of the Cani
sius College Glee Club — and
three dancers from the New
York City Ballet. It was a plea
sant chant, but soon lost to
those at the end of the line, who
thus straggled through the hall
looking for the party.
Earth Symbols
The large aluminum sculptures
of Lubbers were spread around
the sculpture court, their forms
primitive earth symbols. The
three dancers did a little ballet
in a space where one smaller
aluminum earth form served as
a hiding place for Donna Maria
Sackett, who emerged “new
born.”
The electronic music back
ground was simple: A bird call
of technology, throbbing sounds,
rhythmic sounds. A color slide
of a sunset — very beautiful —
was used, its surface pleasantly
disturbed by superimposed ab
stracts.
The chorus sang “Hymn to
the Sun,” which used vibes and
drums, and the voices of soprano
Gwendolin Sims and baritone
Julius Eastman.
Soul Number
Miss Sims and Eastman were
heard more clearly, however,
in the selection, “Oh Sing to the
Lord a New Song all the Earth,”
which led directly into a blues
and soul number, “Hymn to
Agape.”
Eastman sang the blues with
slinky effect, supported by a
rock beat and the women of the
chorus. There should have been
dancing here, but the audience
was a frozen spectator.
During the first part, “Agape,
the love of God for man,” the
Celebrants—clergymen from sev
eral faiths—read texts dealing
with “Agape.” They did the
same for the other parts: “Cari
tas, the love of man for God”
and “Eros, the love of man for
man.”

Weak, Muffled
The aluminum sculptures be
gan sounding in part two. The
electronic music coming from in
side each aluminum form sound
ed weak and muffled; it had the
tone of aluminum resounding, of
aluminum joints rattling.
The color projections were of
ten quite lovely, a surrealist
landscape. Electronic music mur
mured from inside the earth
forms, the Celebrants read on
about “Caritas.” The dancers
(Miss Sackett, Paul Sackett and
Francis Sackett) performed a
ballet about the story of “The
Song of Solomon” to spoken ac
companiment.
A ballet about the story of
“The Song of Solomon” was
danced by Miss Sackett and her
two brothers, Paul and Francis.
The ballet was accompanied by
a spoken text: it seemed an op
portunity lost, for song would
have fleshed out the love tri
angle dance.
“Eros” contained the most
natural music. Miss Sims per
formed a pleasant refrain, with
a four-note ostinato, and then
she was joined by Eastman in
the best number of the produc
tion, “His Love Endures For
ever,” which rocks to the line
“He is Good!”
The Electric Stereoptician rock
band, led by Robert Floyd, play
ed the religious rock music while
the Celebrants circulated bread,
wine and root soup. The love
feast culminated in a rock
party.

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                    <text>Credits . . . Choreographed and danced by, Donna
Maria Sackett, Francis Sackett, Paul Sackett, Members
of the New York City Ballet Company . . . Gwendolin
Sims, soprano . . . Julius Eastman, baritone . . . Electric
Stereoptican, Tom Angelus, electric bass, Douglas Floyd,
drums, Robert Floyd, electric piano, Dave Merrifield,
drums, Allan O'Connor, vibraphone . . . Canisius Col
lege Glee Club, Robert Schulz, Director . . . Celebrants

. . . Director of Staging and Lighting, David Freund
. . . Audio Engineer, George Ritscher . . . Projections
prepared by, Keith Muscutt . . . Live and taped elec
tronic music and films by, Larry Austin . . . Technical
assistants, Bill Brown, Mike Connors, Ty Gerlach, Mary
Ellen Mayhan, Creighton Nelson, Tom Plambeck, Edward
Popejoy, Bruce Rennie, Dave Ross, John Sullivan, John
Torma, Mike Walsh, Steve Walsh.

�</text>
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Electronic
Masques

Agape
a communal ritual and academic
Love-Feast presented by .........
The Art History Department
Canisius College
The Center of the Creative
and Performing Arts, SUNYAB

The Buffalo Academy of Fine Arts.
Albright-Knox Art Gallery.
Composed and Created
by

Rev. Leland Lubbers, S.J.,
Sculptor

MR. Larry Austin,
Composer and Production Director

In Celebration of the Canisius College Centennial
1870-1970

with the assistance of

MR. Francis Sackett

*

Miss Donna Maria Sackett
The New York City Ballet

*

MR. Paul Sackett

Miss Gwendolin Sims, soprano
MR. Julius Eastman, baritone

The Electronic Stereopticon
Rock band from Urbana, Ill.

The Canisius College Glee Club
MR. Robert Schulz, Director

MR. George Ritscher,
Audio Engineer

Albright-Knox Court
Thursday, Feb. 26th, 8:15 P.M.
Wed., Feb. 25th, 8:15 P.M.
Sponsor: Canisius Alumnae Assoc.
Sponsor: Canisius Student Cent. Assoc.

Admission by ticket only:

$5 per person; Students $2

�</text>
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                    <text>contem porary music at carnegie hall

evenings for new music
prepared by lukas foss and lejaren hiller
season 1969-70
sixth annual series
presented by
the carnegie hall
corporation
in conjunction with the
center of the creative
and performing arts
in the state university
of new york
at buffalo
lukas foss and
lejaren hiller directors
four thursdays
at 8:30 P.M.

carnegie recital hall
February 12, 1970 At 8:30 P.M.

Adieu (1966)
**

Karlheinz Stockhausen

Miss Reynard; Messrs. Kotik, Richards, Kirkbride, Lane
Excerpts From "Three Mimes" (1962-69)
**
.............................................. Robert Cantrick
1. Sports Fan, 2. Half-Time Show,
3. Every Good Boy Does Fine (text by David Wagoner).

Messrs. Cantrick and Eastman
Algorithms 1, (Version 1) (1968)
*
............................................................... Lejaren Hiller
1. The Decay of Information, 2. Icosahedron
3.
The Incorporation of Constraints

Misses Reynard, Verberne; Messrs. Falcao, Kirkbride, Kotik,
ColIura, Kurzdorfer, Burnham, Haupt, Ritscher

Conducted by the composer

Intermission
Algorithms 1, (Version 4) (1968)
*
........................................... Lejaren Hiller
1. The Decay of Information, 2. Icosahedron,
3.
The Incorporation of Constraints

Misses Reynard, Verberne; Messrs. Falcao, Kirkbride, Kotik,
ColIura, Kurzdorfer, Burnham, Haupt, Ritscher
Conducted by the composer
Monomusic (1969)
**

......................................................................................................... Joel Chadabe

Miss Williams; Messrs. Kotik, Heitman, Richards, Kirkbride
Haupt, ColIura, Falcao

Conducted by the composer
Non Sequitur 6 (1966)
**

....................................................................................... Herbert Bruen

Miss Verberne; Messrs. Kotik, Falcao, Manes, Furioso, Williams
Conducted by the composer

*First performance
**First New York performance

�</text>
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                    <text>Buffalo Evening News

[February

9, 1970]

Albright-Knox Gallery [BEN 2/9/70]

Sports Fans Take a Ribbing
In a Calm New-Music Night
By Herman Trotter
Measured by their own wayout standards, Sunday’s "Even
ings
for New Music"
performance by the UB Creative
Associates at Albright-Knox Art
Gallery was a pretty tame af
fair.
The customary overflow
crowd was given no visual ef
fects, no audience participation,
no bizarre instruments, no
punctured eardrums and only a
moderate amount of taped
sound.
Those who came in ex
pectation of an evening of
outlandish, turned-on hap
penings had to be content with
Robert Cantrick’s “Three
Mimes,” in which the flutist
composer and baritone Julius
Eastman took some goodnatured swipes at spectator
sports.
The sports fan reading his
morning paper was parodied by
MR.
Eastman,
and
the
bandmaster-clad MR. Cantrick
gave spoof of the half-time en
tertainment,
marching
and
cavorting around stage, while
coaxing every known type of

sound out of his flute, plus
several you never heard before.
For the finale, the two artists
acted out a poem by David
Wagoner concerned with athletic
bungling.
Elsewhere the program
was on the bland side.
A recurring four-note
rhythmic motif and a sense of
floating timelessness generated
by the overlay of horizontal
chordal
lines
marked
Stockhausen’s “Adieu”
for
woodwind quintet, a tribute to a
friend of the composer who died
tragically at 27.
In
Joel
Chadabe’s
"Monomusic,” the composer
conductor’s occasional strong
cues effected slight changes in
ensemble direction, timbre and
color. But otherwise the music
for strings and winds seemed to
go its own heedless way,
dominated by a pair of squiggly,
noodling flutes.
Slee Professor Lejaren Hiller
conducted his “Algorithms 1”
twice, in Versions 1 and 4,
distinguished by minor dif
ferences in the computer pro
grams for the works. It was in
teresting to compare the dif
ferences, more marked than
might
be
expected.
Both
versions were scored for strings,
winds, harp, percussion and
tape.
While the first movement was
spatial and disjunct in Version 1,
it was thicker textured, faster,
and more percussive in Version
4, and one could go on to other
point-by-point comparisons.
* * *
MR. Hiller is an articulate
man, and this experiment was
unusual enough to have warr
anted a few words from the
composer before diving into it.
The associates would have done
well to substitute a mini-lecture
by MR. Hiller for one of the
other works.
“Non Sequitur 6” by Herbert
Brun of the University of Illinois
faculty sets up a sort of title
proving dialogue between in
strumental ensemble and tape,
interesting and inventive. The
composer, who conducted, also
served notice that he is a force
to be reckoned with in the Un
intelligible Program Notes
Sweepstakes.

�</text>
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                <text>Sports fans take a ribbing in a calm new-music night</text>
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                <text>Type of clipping: Concert review </text>
              </elementText>
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                <text> Date of event: 1970-02-08</text>
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                <text> With references to the following additional composers: Robert Cantrick, Stockhausen, Joel Chadabe, Lejaren Hiller, Herbert Brun </text>
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              <elementText elementTextId="1199151">
                <text>Evening News (Buffalo, N. Y.)</text>
              </elementText>
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              <elementText elementTextId="1199152">
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              <elementText elementTextId="1199153">
                <text>1970-02-09</text>
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              <elementText elementTextId="1199154">
                <text>Music Library</text>
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                <text> Still image</text>
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            <elementTextContainer>
              <elementText elementTextId="1199160">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199161">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915647">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). &lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
              </elementText>
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          <element elementId="121">
            <name>Audience</name>
            <description>A class of entity for whom the resource is intended or useful.</description>
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              <elementText elementTextId="1916423">
                <text>UB Only</text>
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  <item itemId="77349" public="1" featured="0">
    <fileContainer>
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                  <elementText elementTextId="1992043">
                    <text>Review

Courier Express

[February 9, 1970]

‘New Music’ Concert
Attracts Full House
People were turned away from
the Evenings for New Music
concert Sunday evening at the
Albright-Knox Art Gallery. The
series presented by the UB Cen
ter of the Creative and Perform
ing Arts probably needs a bigger
home than the gallery audi
torium, but a better solution to
the “problem” of success would
be to present the program twice.
This would also be helpful for
those interested in understand
ing some of the more complex
works.
One very complex work was
presented twice on this pro
gram, although the repeat was
actually a composed variant.
The work was Lejaren Hiller’s
“Algorithms” 1, and it was con
ducted by the composer in its
first performance.
Not Easy to Like
As the notes explain, "Algo
rithms” is the first of three
compositions that “make use of
progressively more complex
and sophisticated computer pro
gress for their realization.” It
has four versions; 1 and 4 were
chosen for performance.
It is not easy to like this
music. One may be fascinated
by certain instrumental sounds
(the ensemble includes bassoon,

cello, harp, clarinet, flute, trum
pet, bass, percussion, violin).
The massed ensemble is heard
mostly, and the sound is dense.
There is also electronic tape
music, which is integrated with
the live ensemble.
Formal Relationships
If there is anything expressed
by this music it is technology
itself. There are undoubtedly
strong formal relationships
(and for a better understanding
of the music the composer refers
us to a book, strangely titled
“Music by Composers”). Too
often one confronts a mechani
cal development—the use of
spaced drum beats, a dull re
gularity of ensemble attacks, in
strumental trills.
Stockhausen’s “Adieu” for
woodwind quintet (which “con
sists largely of general guide
lines for fixing a particular per
formance realization”) was per
formed with sensitivity by Petr
Kotik, flute and piccolo; Ronald
Ricards, oboe; Jerry Kirkbride,
clarinet; Darlene Reynard, bas
soon, and William Lane, horn.
The music contains quiet, sus
tained chords (with delicate
pitch bending), and quick en
semble flurries.
Chadabe’s ‘Monomusic’
The busy ensemble lines of
Joel Chadabe’s “Monomusic”
create a playful texture. Weav
ing wind lines (flutes, oboe,
clarinet) and bright trumpet
accents make the sound living,
even though the music seems to
be essentially undeveloped. The
composer conducted with num
ber signs (thus cueing the for
mal changes of the piece); the
ensemble included violin, viola
and harp.
There was amusing entertain
ment in Robert Cantrick’s Ex
cerpts from “Three Mimes,”
performed by Julius Eastman
and the composer, with clever
staging by Joseph Krysiak. East
man was a sports fan, reading
the newspaper and vocalizing
his reactions to the results. Can
trick marched with his flute,
which he played in interesting
sub-tones, shadow-tones, mouth
tones. The two performers were
very funny in the final mime, a
scene of near slapstick humor.
The program was completed
by Herbert Brun’s “Non Sequi
tur 6” which, however, came
too late for review.
T.P.

�</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="1199122">
                <text>'New music' concert attracts full house</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
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            <elementTextContainer>
              <elementText elementTextId="1199123">
                <text>Eastman, Julius </text>
              </elementText>
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                <text> Music--New York (State)--Buffalo</text>
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              <elementText elementTextId="1199125">
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                <text> Date of event: 1970-02-08</text>
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                <text> With references to the following additional composers: Lejaren Hiller, Stockhausen, Joel Chadabe, Robert Cantrick, Herbert Brun </text>
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                <text> Note: Eastman as performer in Cantrick's Three Mimes</text>
              </elementText>
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            <elementTextContainer>
              <elementText elementTextId="1199129">
                <text>Putnam, Thomas</text>
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              <elementText elementTextId="1199130">
                <text>Courier Express (Buffalo, N. Y.)</text>
              </elementText>
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            <elementTextContainer>
              <elementText elementTextId="1199131">
                <text>State University of New York at Buffalo. Music Library</text>
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              <elementText elementTextId="1199132">
                <text>1970-02-09</text>
              </elementText>
            </elementTextContainer>
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              <elementText elementTextId="1199133">
                <text>Music Library</text>
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            </elementTextContainer>
          </element>
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                <text> Still image</text>
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                <text>eastman_032</text>
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            <elementTextContainer>
              <elementText elementTextId="1199139">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199140">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915648">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). &lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="121">
            <name>Audience</name>
            <description>A class of entity for whom the resource is intended or useful.</description>
            <elementTextContainer>
              <elementText elementTextId="1916334">
                <text>UB Only</text>
              </elementText>
            </elementTextContainer>
          </element>
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  </item>
  <item itemId="77348" public="1" featured="0">
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      <file fileId="77829">
        <src>https://digital.lib.buffalo.edu/files/original/5f515c8ddcc9e3127a8b247d610e3d8a.pdf</src>
        <authentication>42041fe92df37e2c81811ad3232d257e</authentication>
        <elementSetContainer>
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              <element elementId="86">
                <name>Text</name>
                <description/>
                <elementTextContainer>
                  <elementText elementTextId="1992044">
                    <text>Evenings For New Music
Adieu (1966)**....................................................... Karlheinz Stockhausen
Miss Reynard; Messrs. Kotik, Richards, Kirkbride, Lane

Excerpts
1.
2.
3.

from Three Mimes (1962-69)............................. Robert Cantrick
Sports Fan
Half-Time Show
Every Good Boy Does Fine
(text by David Wagoner)
Messrs. Cantrick and Eastman

Algorithms 1, Version 1 (1968)*............................................ Lejaren Hiller
1. The Decay of Information
2. Icosahedron
3. The Incorporation of Constraints
Misses Reynard, Verberne; Messrs. Falcao, Kirkbride, Kotik,
Collura, Kurzdorfer, Burnham, Haupt, Ritscher
Conducted by the composer
Intermission

Algorithms 1, Version 4 (1968)*............................................ Lejaren Hiller
1. The Decay of Information
2. Icosahedron
3. The Incorporation of Constraints
Misses Reynard, Verberne; Messrs. Falcao, Kirkbride, Kotik,
Collura, Kurzdorfer, Burnham, Haupt, Ritscher
Conducted by the composer

Monomusic (1969)**................................................................ Joel Chadabe
Miss Williams; Messrs. Kotik, Heitman, Richards, Kirkbride,
Haupt, Collura, Falcao
Conducted by the composer

Non Sequitur 6 (1966)**...................................................... Herbert Brun
Miss Verberne; Messrs. Kotik, Falcao, Manes, Furioso, Williams
Conducted by the composer
* First Performance

**First Buffalo Performance
Note: The next Evenings For New Music concert will be held on Sunday, March 22.

�</text>
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                <text>Evenings for new music</text>
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                <text> Note: Eastman is performer in Three Mimes by Cantrick</text>
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                    <text>Saturday, January 31, 1970

Buffalo Evening News

Canisius Plans a Love Feast
'Happening' at the Albright
By Jean Reeves
What was described to me as
“a completely integrated art ex
perience” will take place Feb. 25
and 26 in the Sculpture Court of the
Albright-Knox Art Gallery.
This swinging event will encom
pass a ritual, communal love feast;
an electronic concert with singers,
dancers and a rock band; an ex
hibition of monumental aluminum
sculptures and readings by ecclesi
astics.
The instigator of this multi-media
performance is DR. Thalia Feldman,
a petite dark-haired charmer who
“is” the Art History Department at
Canisius College.
DR. Feldman stressed that this
program, formally titled “An Elec
tronic Masque: Agape,” is sponsored
by the Art History Department in
observance of the Centennial of
Canisius College.
“We have enlisted the cordial co
operation in this event of the Center
of the Creative and Performing Arts
at the State University of Buffalo and
of the Buffalo Fine Arts Academy.”
Agape, she hastened to point out,
is the Greek word for love and is
used to describe the love-feast initi
ated by the early Christians.
The word will be widely mispro
nounced, she knows. We should say it
“Ah-guh-pay,” with the stress on the
first syllable.
DR. Feldman envisions a “solemn
ritualistic and yet spontaneous”
event that will “give people an emo
tional lift; they will be sharing an
experience. They will not be merely
spectators but will be mobile during
the performance.
“I see this as the beginning of a
new, completely integrated art
theater. We are moving into a new
Baroque period anyhow.”
***
The Performance itself will
include many talents but is built
chiefly around the far-out electronic
music of Larry Austin, an avant
garde composer from the Music
Department of the University of
California at Davis, and the
sculptures of a nonconformist Jesuit

Lively Arts

Father Lubbers, wear
ing his welding helmet,
holds hammered aluminum
sculpture he calls “God,” to
be on display at an electronic
love feast. The sculptures
will be wired to resonate
music by Larry Austin.

priest, the Rev. Leland Lubbers, SJ,
head of the Art Department at
Creighton University, Omaha,
Neb. (MR. Davis, incidentally, was a

Creative Associate at UB in 1968 —
more of these twolater).
The opening night audience, as
participants will wear dinner jackets
or academic garb, official robes,
chains, decorations and other
authentic paraphernalia of in
dividual office and honors.
Why? DR. Feldman explains: “In
order to be as formally dressed as
possible, approaching the medieval
and Renaissance notion of academic
festal regalia — the mood of all this
is serious.”
The evening will begin at 8:15
with a procession of performers and
audience from the gallery
auditorium to the Sculpture Court.
In the lead will be singers, danc
ers and chorus, chanting and ac
companied by ancient Czech flutes,
imported for the occasion and by
three ancient Chinese drums,
African thumb-pianos and other
eoteric instruments.
Once arrived at the Sculpture
Court, DR. Feldman continued, the
audience-participants are free to
stand or to sit on chairs or on
cushions on the floor. The audience
also — as at a feast — may move
about during any part of the
performance.
*
*
*
The First Phase of the event
then begins, Agape — The Love of
God for Man, as the audience
partakes of bread and wine while
Miss Gwendolin Sims, soprano, and
Julius Eastman, baritone, sing
verses from the Songs of Solomon.
The songs are set to electronic
music which will resonate from the
sculptures of Father Lubbers. They
are “wired for sound.”
About 10 of these massive welded
and
hammered
aluminum
sculptures, will be in the court. They

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                <text>Canisius plans a love feast 'happening' at the Albright</text>
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              </elementText>
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              </elementText>
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                <text>1970-01-31</text>
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                <text>eastman_030</text>
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              <elementText elementTextId="1199099">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1199100">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1915650">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).&lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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                <text>UB Only</text>
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  <item itemId="77346" public="1" featured="0">
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                    <text>Buffalo Evening News
Baird Hall

[January 29, 1970]

Wild Vocal Adventures
Showcase the Sims Style
By Herman Trotter

A couple of things, at least, emerged clearly from
the shenanigans of Wednesday evening’s Baird Hall
recital by more than 20 UB Creative Associates and
guest artists.
Soprano Gwendolin Sims is a musician of first rank.
And the man in the back row who threw his overshoes
onstage was a critic of unusual conviction.
With a shot at everything
from a Verdi aria to a wordless
wail, Miss Sims was not only
superb, but each successive farout bit had all the command of
an orthodox style.
In Rudolf Komorous’ one-act
opera “Lady Blancarosa” her
rapid fluidity from speech to
sprechstimme to song was dazz
ling. Obscure of meaning, the
opera nonetheless managed
some visual and aural appeal
with swirling stage motion,
dramatic situations and lighting.
Also in the cast were Jacques
Earley and baritone Julius
Eastman, whimsically cast in a
female role as an alto.
Four
works
by Morton
Feldman for soprano and
various instruments impressed
with their spareness of line and
gossamer, yet well-defined
form. His four-movement “Jour
ney To The End Of The
Night,” hollow and woody, was
followed by three works played
without pause.
* * *

“Vertical Thoughts 3” balls tossed into the audience

was like distilled Webern, so
lean that form was apparent
only in retrospect. “Rabbi
Akiba” was an attractive
wordless cantilena, and the con
ductorless dirge, “For Franz
Kline,” ended with a tonal piano
cadence that was so slow the
tonality was almost lost in time.
Where there was a conductor it
was Petr Kotik.
The evening's major effort
was a doubleheader — the
simultaneous performance of
John Cage’s “Forever And
Sunsmell” and Cornelius
Cardew’s “Schooltime Com
positions.” We mean, no kid
ding, they were both performed
at the same time.
The Cage found Miss Sims
presenting E. E. cummings
verses to percussion, a backdrop
of muted psychedelic and
marine projections, and artful,
athletic dancing by Crystine
Lawson. The Cardew got under
way with acrobatics on a 10-foot
stepladder by dancer Carole
Weiner, but soon continued
without competition as the Cage
expired.
* * *
At This Point the Cardew
became an unabashed hap
pening, basketballs and tennis

and back, three dancers making
much child’s play, and more
nonsense. Visual effects were
punctuated
with
music,
including Verdi’s “Pace, Pace,
Mio Dio” from “La Forza” sung
straight and well,
then
degenerating into parody. Even
tually Brahms’ Lullaby, in vocal
duet, put the soprano to sleep at
mid-stage, lying down and snug
gling up to a baritone horn,
which is a musical instrument.
Fortunately, the notes had told
us MR. Cardew has a distaste for
opera and theater. His idea was
to compare adults in the theater
with children in school, each
seeking the light. This cast some
relevance on the work, but even
so it was difficult not to be
swept along by this outre romp.

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                <text>Eastman, Julius </text>
              </elementText>
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                <text> Music--New York (State)--Buffalo</text>
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                <text> Date of event: 1970-01-28</text>
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                <text> With references to the following additional composers: Verdi, Rudolf Komorous, Morton Feldman, Webern, John Cage, Cardew, Brahms </text>
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                <text> Note: Eastman was performer in Komorous and pianist in Feldman pieces</text>
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                <text>Julius Eastman Clippings Database, 1968-1979</text>
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                    <text>State University of New York at Buffalo - Department of Music
presents

Creative Associate Recital 3
January 28, 1970 - 8:30 P.M.

with
Gwendolin Sims, soprano
and
John Heitmann
flute
Ronald Richards
oboe
Jerry Kirkbride
clarinet
Edward Yadzinski
bass clarinet
Darlene Reynard
bassoon
Kenneth Wells
french horn
Frank Collura
trumpet
James Fulkerson
trombone
Daniel Sack
tuba
Ed Burnham
percussion
Lynn Harbold
percussion
Jan Williams
percussion
Julius Eastman
piano-celesta
Kenneth Fung
violin
Marijke Verberne
cello
James Kurzdorfer
contrabass
Peter Kotik
conductor
Julius Eastman
singer
Jacques Earley
actor
Cristyne Lawson
dancer
Carole Weiner
dancer
John Hall
dancer
Rudolf Komorous
stage direction
(Lady Blancarosa)
Cristyne Lawson
choreography
(Forever and Sunsmell)
Jacques Earley
lighting direction
(Forever and Sunsmell)
Petr Kotik
stage direction
(Schooltime Compositions)
Jo McGlone
costumes
(Forever and Sunsmell)
George Ritscher
audio engineer

Baird Hall

Program
Lady Blancarosa (1967).................................................................................. Rudolf Komorous
An opera in one act
Helga:
Julius Eastman
Kamilla:
Gwendolin Sims
Dwarf Erik:
Jacques Earlev
The text was put together by the composer as a collage of
different phrases from various works of Jan Z Wojkovic.

Intermission
Journey To The End Of The Night (1947)..................................................... Morton Feldman
Based on the novel by Celine
soprano, flute, clarinet, bass clarinet, bassoon

Vertical Thoughts 3 (1963)............................................................................ Morton Feldman
soprano, flute, horn, trumpet, trombone, tuba, piano-celesta,
percussion, violin, cello, bass
--------- Attacca ---------

Rabbi Akiba (1963).................................................................................................... Morton Feldman
soprano, flute, english horn, horn, trumpet, trombone, tuba,
percussion, piano-celesta, cello, bass
----------Attacca--------For Franz Kline (1962)........................................................................................ Morton Feldman
soprano, violin, cello, horn, chimes, piano

Intermission
Forever And Sunsmell (1944)....................................................................................... John Cage
Song with percussion duet and dance
Cristyne Lawson
Gwendolin Sims
Ed Burnham
Lynn Harbold

The title and text of Forever and Sunsmell are from 26, one
of 50 Poems (1940) by E. E. Cummings. Some lines and

�</text>
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                <text>Creative associate recital III</text>
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                <text> Note: Eastman is performer in Lady Blancarosa by Rudolf Komouros and pianist in Vertical Thoughts III and Rabbi Akiba by Morton Feldman</text>
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              <elementText elementTextId="1915652">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC-EDU/1.0/"&gt;IN COPYRIGHT - EDUCATIONAL USE PERMITTED&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). &lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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                    <text>Buffalo Evening News [January 26, 1970]

Two Are Better Than One
For Avant-garde Performer
It seems only natural, if
you’re one of the young avantgarde known as the UB Creative
Associates.
If you can’t decide whether to
do the John Cage work first and
the Cornelius Cardew piece sec
ond, or the other way around,
the solution is effortless. You
just do them together.
Soprano Gwendolin Sims, who
can sing Schubert like a
nightingale but you can hardly
tell it from the way things are
going, will present the two farout works at the same time, in
her recital on Wednesday at 8:30
PM in Baird Hall. Admission is
free.
“Well, they’ll sort of overlap,"
she says. “One is longer than
the other, but for a good stretch
they’ll both be going on at the
same time.” The composers
haven’t been informed, but it
should be all right. Cage is on
the West Coast and Cardew is in
London.
“Hard to Describe”
“Forever and Sunsmell” is the
Cage work, with voice,
percussion and dancer. The
Cardew "Schooltime Com
positions” is for voice, piano,
flute, trombone and three actor
dancers.
For an opener Miss Sims will
perform a one-act opera titled
“Lady Blancarosa” by Torontobased Czech composer Rudolf
Kormouros.
“It’s rather hard to describe,”
she says with a quiet, knowing
laugh.
Bass Julius Eastman and nar
rator Jacques Earley will assist
in whatever it is. The Morton
Feldman “Journey to the End of
Night” for chamber group com
pletes the list.
Mind-Opening Buffalo
Gwendolin Sims has sung in
Carnegie Hall with the Buffalo
Philharmonic, in Carnegie
Recital Hall on the “Evenings
for New Music” tours and in
many recitals and orchestra
concerts in many cities. She will
appear with the Boston Sym
phony Orchestra in April.
A New Yorker, she thinks
Buffalo is more adventurous and

Gwendolin Sims
“Friends Are Against It”

she’s here for her second
Creative Associate year.
“It’s a real mind-opener
here,” she adds. “Some of the
stuff we do is pretty wild but
really creative.
And you may not believe it,
but I have a better grasp of
traditional technique and style,
for having worked out in these
new styles. I’ll always sing
lieder and opera, of course, but
this is truly exciting.
“Some of my New York
friends are against it. But I just
couldn’t go back to exclusive
traditional singing.”
That’s, you know, where you
sing just one song at a time.—
J.D.

�</text>
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                <text>Two are better than one for avant-garde performer</text>
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                <text>Eastman, Julius </text>
              </elementText>
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                <text> Date of event: 1970-01-28</text>
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                <text> With references to the following additional composers: John Cage, Cornelius Cardew, Schubert, Rudolf Kormouros </text>
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                <text> Note: Eastman is performer in Lady Blancarosa by Kormouros in Gwendolin Sims recital </text>
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                <text> Includes illustration</text>
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                <text>Dwyer, John</text>
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                <text>Evening News (Buffalo, N. Y.)</text>
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  <item itemId="77343" public="1" featured="0">
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                    <text>20

Buffalo Courier-Express, Sunday, January 25, 1970

Composers Active in UB Programs
Center of Creative and Performing Arts Has Busy Schedule
By Tom Putnam
In The Coming month the
UB Center of the Creative and
Performing Arts will present
programs which will involve
composers conducting their own
works and assisting in the per
formance preparation in some
times unusual ways.
The Czechoslovakian com
poser Rudolf Komorous arrived
here from Toronto last week to
assist in the preparation of his
opera,
“Lady
Blancarosa,’’
which will be presented on a
Creative Associate recital organ
ized by Gwendolin Sims Wednes
day in Baird Hall.

“The Odd Couple,” a Cre
ative Associate recital by clarin
etist Jerry Kirkbride and per
cussionist Jan Williams, will in
clude music by the West Coast
composer Harold Budd — who
will participate from Los An
geles — Feb. 4 in Baird Hall,
UB campus.
The Evenings for New Music
concert Feb. 8 at the AlbrightKnox Art Gallery will include
music by Lejaren Hiller, Joel
Chadabe and Herbert Brun,
with the composers conducting.
Larry Austin will be here to
prepare his new work, “Agape”
— an “early Christian love
feast" — which was commis
sioned by Canisius College for
its Centenial Celebration pro
gram February 25 and 26 at the Al
bright-Knox Gallery.
The UB Center is showing
a healthy relationship with
other groups in the community.
The program with Canisius Col
lege is a most welcome develop
ment of community cooperation.
It is an economical use of re
sources for preforming artists
from different institutions in
the community to come to
gether. (The Buffalo State Col
lege music department series,
“faculty-community Concerts,”

is another example of this co
operation. )
In her recital this week
Gwendolin Sims has assembled
26 assisting artists from the UB
Center, the Buffalo Philharmonic
Orchestra, Buffalo State Colege
and Domus.

The program will include the
first performance of Roberto
Laneri’s “The Night Brings a
Rabbit,” which Williams said
uses noise and weird sounds.
“We sing, rub balloons. It is
a sound piece, not a theater
piece.”

Most Of These, she says,
will be used in a chamber music
ensemble of winds, percussion
and piano for several works by
Morton Feldman: “For Franz
Kline,” “Rabbi Akiba,” “Verti
cal Thoughts 3" and “Journey
to the End of the "Night.”
The one - act opera “Lady
Blancarosa,” is for two singers
and a dwarf. Miss Sims, so
prano, will be joined by baritone
Julius Eastman and Jacques
Earley, speaker.
Miss Sims has had a big job
getting her performers together
for her recital. And in the opera
she has had the additional re
sponsibilities of being stage tech
nician and lighting designer.

“Sources 3” by David
Burge is performed in the dark,
or almost. “We read by candle
light,” Williams explained. Mi
chael Sahl’s “For Clarinet and
Percussion” will also be played.
The theater music of Harold
Budd will involve the composer
(in a surprising way which it
would be unfair to reveal here)
who is in Los Angeles. The work
is “Lovely Thing (Piano).” The
pianist who will seek spiritual
aid from Budd is Jerry Kirk
bride.
The Evenings for New Music
program (Februay 8) will have
these works conducted by the
composers: Hiller’s "Algorithms
1" (versions 1 and 4); Cha
dabe’s “Monomusic”;
and
Brun’s “Non-Sequitur 6.”

Music For “Lady Blanca
rosa” is a tape for five trump
ets. The text is a collage of vari
ous works by the Czech writer,
Jan Z Wojkovic.
The simultaneous performance
of John Cage’s “Forever and
Sunsmell” and Cornelius Car
dew’s “Schooltime Composi
tions” will conclude Miss Sim’s
program.
Miss Sims explains that Car
dew—who, incidentally, was for
merly a Creative Associatecomposed his "Schooltime Com
positions” for an opera group in
England in an attempt to dis
cover “what distinguishes opera
from other presentations.”

The Performers are giv
en “assignments” which are im
proved. One such assignment is
“Assignment of Desire,” in
which the performer is instruct
ed to “Do something you would
like to do.”

Jan Williams, Jerry Kirkbride in “The Odd Couple”
... on UB Creative Associate program

“There are some musical ex
amples,” Miss Sims said, “such
as scales, a series of tones.”
There is also graphic notation.
The deign for “Little Flower of
the North” is graphic. “It’s a
beautiful thing,” Miss Sims said.
“You’ve got to see it.”
The Cage song to a poem by
E. E. Cummings is performed
by Miss Sims, percussionists Ed
Burnham and Lynn Harbold, and
dancer Cristyne Lawson.

Jerry Kirkbride des
cribes the music of Harold
Budd as “surreal and spiritual.”
Budd's music—including “Inter
mission Piece,” in which the
performers are instructed to go
on stage during intermission
and make sounds as softly as
possible—will be performed by
Kirkbride and percussionist Jan
Williams on “The Odd Couple”
program February 4.

Buffalo State College
composer Robert Cantrick will
perform with Julius Eastman
excerpts from his “Three
Mimes” for flute and baritone.
The Evenings for New Music
program will be completed by
Stockhausen’s “Adieu” for
woodwind quintet.
Larry Austin’s “Agape” is
described by the composer as
“an early Christian love feast"
and “an electronic masque.”
It will be presented in the
Sculpture Court of the AlbrightKnox Art Gallery on the Cani
sius College Centennial Cele
bration program Feb. 25 and 26.

Austin Is collaborating with
artist Father Lee Lubbers,
whose large aluminum sculp
tures will "serve as earth

bols” and also as "sounding
sym
sculptures”—resonant chambers
for the computer generated
sound. Father Lubbers is from
Creighton University in
Nebraska.
The work will use baritone
solo, soprano solo, chorus,
video, slide projections, pro
cessionals, a rock band, two
dancers, live electronic music.
A text will have quotations
from the Psalms, Songs of
Songs, the Apostles John and
Paul, Plato, Dante and ST.
Augustine.

At One Point in the love
feast the audience will be ask
ed to participate in an “inter
communion of love.”
The UB Center has recently
benefited from a $15,000 grant
which the National Endowment
for the Arts in Washington
awarded to the Carnegie Hall
Corp. This money is to help
the Carnegie Hall Corp. expand
the objectives of the Evenings
for New Music concert series
presented in New York City.
Under the grant a new cycle
of concerts will be performed
by the Center at Rutgers Uni
versity in New Brunswick, N.J.
The Rutgers series also will
include seminars, panels and
open rehearsals.
Lejaren Hiller, who is
co-director with Lukas Foss of
the Center, announced the
Center has signed a contract
with Deutsche Grammophon. A
recording will be issued soon
as part of the German com
pany’s avant-garde series.
“This will be their first issue
of American music in the
series,” Hiller said. “We have
recorded two works already:
Foss's ‘Paradigm’ and my ‘Al
gorithms 1.' ” He said the third
work to be recorded is Roger
Reynolds's "Traces,” which has
been performed by the Center
with pianist Yuji Takahashi.

�</text>
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                    <text>Rutgers 2 Concerts
Season 1969-70

Kirkpatrick Chapel

Evenings

For

New Music

Lukas Foss and Lejaren Hiller, co-directors

Opening Event
Wednesday, December 17, 1969 at 8:00 P.M.
Program

*denotes first U.S. performance** denotes first performance anywhere

Exits and Entrances (1969)*

David Jones (British, B. 1927)

MR. Jones has long been vigorously espousing the performance of American music in his
country by means of the Anglo-American Recording Society. This work makes use of thea
trical elements in its center section in which four of the performers must use speech
and gesture. The text is from "Zettel" by Ludwig Wittgenstein.

Musicians: Gerald Cash, percussion; James Fulkerson, trombone; Charles Haupt, violin;
Thomas Howell, flute; Jerry Kirkbride, clarinet; Petr Kotik, flute; Roberto Laneri,
saxophone; Darlene Reynard, bass; Marijke Verberne, 'cello. Coached by Joseph Krysiak.
Conducted by Lejaren Hiller.

Excerpts from "Three Mimes" (1962-69).......... Robert Cantrick (American, B. 1917)
The composer writes: "Three Mimes" is a humanistic approach to contemporary music. It
is humanistic in a precise functional sense, viz.: the total performer functions as a
work of art. The distinction between the medium of music and the performer of music is
erased; in this music the medium is the performer. As a result, the parameters of the
music transcend the realm of sound. Non-sonic aspects of the performer are used for
musical purposes. The three sections of the piece are entitled: Sports Fan, Half-Time
Show, Every Good Boy Does Fine (text by David Wagoner).

Musicians:

Robert Cantrick, flute; Julius Eastman, piano.

Colorazione (1968)*.............................. Arne Nordheim (Norwegian, B. 1931)

Composed for Hammond organ X-66, percussion instruments, filters and ring modulators.
The composer speaks: Since program notes are usually written long after a work has been
composed, they all more or less (more more than less) contain some very attractive lies.
The exact intention in "Colorazione" is that the musicians' actions in the present meet,
after some delay, the ring-modulated and filtered sounds from their instruments. This
situation develops some fascinating possibilities for a play on time, color, and space:
Time because of the meeting between present playing and the musical action fifteen sec
onds ago; Color because of the altering - the coloring and deformation of the delayed
sounds; Space because of the wide scattering of the sound that arises from both the
playing in the present and the colored results from the instruments' ring-modulated and
filtered life that will be distributed in the hall.

�</text>
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                <text>Evenings for new music</text>
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                <text> Date of event: 1969-12-17 </text>
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                <text> Note: Eastman as pianist in Excerpts from 'Three Mimes' by Cantrick and Foci by Istvan Anhalt</text>
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                    <text>Music Notes

Courier Express [Dec. 13, 1969]

2 Singing Groups Set
For Handel ‘Messiah’
The Buffalo Schola Cantorum
will sing along with the East
High School Choir in perform
ances of Handel’s “Messiah”
with the Buffalo Philharmonic
Orchestra at 8:30 P.M. Dec. 20
and 2:30 P.M. Dec. 21 in Klein
hans Music Hall.
Lukas Foss will conduct. Solo
ists are Susan Belling. Elaine
Bonazzi, Warren Hoffer and
Thomas Carey. The choral
groups are directed by Melvin
Strauss and Donald Hilliard.

Vaughan Williams, is open to the
public.

Church to Present
Menotti’s ‘Amahl’

Festival of Music

Menotti’s “Amahl and the
Night Visitors” will be presented
by Amherst Community Church
at 7:30 P.M. Dec. 21 in the
church at 77 Washington Hwy.,
Snyder. Cyrus Hamlin is music
director, Robert Schihl is stage
director and Paul Hangauer is
choreographer.
The cast will include Tim Mc
Carthy as Amahl, Patricia Ores
kovic as Amahl’s mother and
Julius Eastman,
Andrew
Schultze and Alan Creech as the
Kings.

Junior High School
To Be Concert Site
The
Kenmore - Tonawanda
Symphony Orchestra, directed
by Carlo Pinto, will present a
concert at 2:30 P.M. Dec. 21 at
Benjamin Franklin Junior High
School, Town of Tonawanda.
The program will include
music by Britten. Brahms, An
derson and Tchaikovsky. There
is no admission charge.

Lutheran Church Sets
Christinas Concert
The Lutheran Chorale and or
chestra, directed by John
Becker, will present a Christmas
concert at 8:30 P.M. Dec. 22 at
Holy Trinity Lutheran Church,
1080 Main ST.
The program, with music by
Distler, Zimmerman and

Musical Program
The University of Buffalo
String Orchestra led by Pamela
Gearhart will play music of Vi
valdi, Hovhaness and Handel
at the 10:45 A.M. Sunday ser
vices in Unitarian Universalist
Church of Amherst, 6320 Main
ST. The Rev. Blaine F. Hartford
will preach “Metamorphosis,” a
sermon on the character of life.
A Christmas Festival of Mu
sic will start at 7:30 Sunday
night in St. Peter’s United
Church of Christ at Genesee
and Hickory. Choirs of that
church, Lincoln Memorial Meth
odist and the Royal Serenaders
will sing.

�</text>
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                    <text>Creative Associate Recital 2
Thomas Howell, Flutist-composer
Burt Levy
Orbs with Flute

Herbert Brun
GESTO, for piccolo and piano

David Gilbert
Poem 6 for alto flute, metal, and wood

Patrick Purswell
It grew and grew

Intermission

Kenneth Gaburo
Two, for mezzo-soprano, alto flute, and bass

Thomas Howell
Thresholds 2

Stefan Wolpe
Composition in two parts for flute and piano

with

Julius Eastman, pianist
Jerry Cash, percussionist
William Furioso, percussionist
Judith Sherman, mezzo-soprano
James Kurzdorfer, string bass

Baird Hall, December 4, 1969, 8:30 P.M.

�</text>
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                    <text>Evenings
For
New
Music
Creative Associates

Edward Burnham
Julius Eastman
Charles Haupt
Thomas Howell
Jerry Kirkbride
Peter Kotik
Joseph J. Krysiak
Ronald Peters
Gwendolin Sims
Marijke Verberne
Jan Williams
Renee Levine, Coordinator

�</text>
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                    <text>Courier Express

[November 30, 1969]

Julius Eastman

Robert Cantrick
....Full dress and funny hats

Movement Is Part
Of Flutist’s Work
By Thomas Putnam
The title of Robert Cantrick’s
work for flute and voice indi
cates how far composers have
come in enlarging music to
include more than pitch and
rhythm.
“Three Mimes,” which the
Buffalo State College composer
wrote between 1962 and 1969,
includes what Cantrick calls “a
movement series” in which the
performers are placed in “a
series of locations around the
stage.”
Theatrical Side
The performance of “Mimes”
by flutist Cantrick and baritone
Julius Eastman will include an
element of theater. “Julius and
I wear full-dress suits with
funny hats,” Cantrick said. But
the choreography will also af
fect the sound, which will come
from different directions.
“This work includes not only
new flute sounds,” Cantrick said,
“but also work with acoustical
factors—room acoustics—making
the acoustics part of the work.
For example, what happens
when the flute player turns
around? This particular piece
happens to be the human being
unaided by technology.”

Several Elements
The use of movement, Can
trick says, is “one of the novel
aspects of what I'm doing.
Other elements which are organ
ized in series are pitch, timbre,
loudness, words and bodily
sounds.
“Three Mimes” will be per
formed on a program winch
examines “The Contemporary
Flute Scene” at 8:15 P.M.
Wednesday in the auditorium of
the Campus School. It is part
of the Faculty-Community con
cert series planned by the music
department of Buffalo State
College.
Based on Poem
The “Mimes” are: “Sport’s
Fan” (for voice); “Half-Time
Show” (for flute); and “Every
Good Boy Does Fine” (for flute
and voice).
The last—which sounds more
like a typing exercise than a
musical duet—is based on a
poem about “adolescent crisis.”
The crisis (“he blows it”) in
volves music and athletics.
On the program Eiko Ito will
be heard in Poulenc’s Sonata for
flute and piano, and Anthony
Carere will perform selections
from his jazz musical, “General
Martini,” assisted by Bobby
Jones, organ, and Lewis Morell,
drums.

�</text>
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                    <text>Ethos
november 4, 1969

Creative Associates plan
for a musical entourage
by laura julier
“Evenings For New Music” is
the name of their program. The
Center of the Creative and Per
forming Arts is the name of their
organization. “They” are the Cre
ative Associates, a group of
young professional musicians “at
the phase of their careers when
they need to learn techniques of
new music, to broaden their per
spectives through course work
and interdisciplinary study, and
to perform in musical events de
voted to new music.”
The group was formed in 1964
under a Rockefeller Foundation
Grant and originally consisted of
18 members, each awarded a
one-year fellowship which could
be renewed for a second year.
The Grant expired in 1967, and
they are now funded through
SUNYAB.

Lukas Foss is co-director
The Co-Directors of the Center
are Lukas Foss, (who is also Con
ductor and Music Director of the
Buffalo Philharmonic Orchestra)
and Lejaren Hiller.
Creative Associates will be per
forming a series of concerts in
Buffalo, Toronto, New York City,
Hamilton College, S.U.N.Y. at Al
bany, and Rutgers University

be
tween
November and May. Their
first concert in Buffalo will be
this Saturday (November 8th) at
the Albright-Knox Art Gallery
Auditorium at 8:30 P.M. (free of
charge).

All of the works on Saturday
evening’s program are being per
formed for the first time. All
were written within the past
decade and several are works
done by members of the Creative
Association.
Some enticing titles for this
program are: Environmental
Sounds, by Ed Burnham; Prelude
and Invention for Player Pi
ano and Piano Player, by Ralph
Blauvelt; Antiphony 4, by Ken
neth Gaburo; and Jack's New
Bag, by Barnes Childs.

To explore new avenues
of music
The purpose of the Center of
the Creative and Performing
Arts is to explore the new ave
nues of music through a co-or
dinate, co-operate effort of asso
ciates of various media. Co
ordinator of the Center, Renee
Levine, stresses that the group
wants to do more branching out
into the mixed media, trying to
incorporate film and drama into
their work.

Already they have added a the
ater associate, Joseph Krysiak,
actor, designer, and director of
the “Company of Man” produc
tions.
As the original Foundation
proposal stated, “There is an in
ference that the Center will
cause the development of the ‘hy
phenated’ musician so necessary
today; the composer-performer,
the composer-critic, and the mu
sicologist-theoretician.”
Membership of the Creative
Associates for the 1969-70 season
includes: Ed Burnham, percus
sionist-composer; Julius Eastman,
pianist-composer;
Charles
Haupt, violinist; Thomas Howell,
flutist-composer; Jerry Kirk
bride, clarinetist; Joseph Krys
iak, actor-designer;
Ronald Peters, pianist; George
Ritscher, electronic technician;
Gwendoline Sims, soprano; Mar
ijke Verberne, cellist; and Jan
Williams, percussionist-conduct
or, and the only member of the
original Associates.

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                    <text>Buffalo Evening News&#13;
&#13;
I&#13;
&#13;
On the t-Evening for New Music'&#13;
Howell, flutist; Peter Kotik,&#13;
flutist-compose·r, and Joseph&#13;
uled&#13;
from&#13;
November&#13;
to Krysiak, theater associate. In&#13;
addition the Center will invite&#13;
3&#13;
~r ~ti~: a:l~e P~:r~~%in~f A~~= guest composers, among them&#13;
in the :State University of Buf .. Herbert Brun, Robert Ashley&#13;
falo for its "Evenings For New and Norway's Arne Nordheim.&#13;
Music" series.&#13;
"Evenings For New Music"&#13;
This&#13;
year's&#13;
Creative held here' in the Albright-Knox&#13;
Associates will be heard in Art Gallery begin at 8: 30 PM&#13;
concert in Bwffalo, New York and are free to the public. The&#13;
complete schedule follows:&#13;
and Toronto. Returning&#13;
Nov, 4 - York University,&#13;
members&#13;
of the Center&#13;
are&#13;
Edward Burnham,&#13;
percussion·&#13;
Toronto.&#13;
Jist; ChaKrleksb ~daupt, violin!st;&#13;
Nov. 8 - Albright-Knox Art&#13;
erry&#13;
ir n e, c 1ar.inet1st;&#13;
Jonathan Marcus, guita rist; Gal•lery.&#13;
Ronald Peter, pianist; GwendoNov. 14 - Hamilton College,&#13;
lin Sims, soprano; Marijike Ver- Clinton, N. Y.&#13;
berne, cellist, and Jan WilNov. 15- State University of&#13;
oJiams, percussionist.&#13;
New York at Albany.&#13;
Dec. 13 - Albright-Knox Art&#13;
FIRST-YEAR members of Gallery.&#13;
a,e Ce nter are Julius Eastman ,&#13;
Dec. 17-Rutgers University,&#13;
Tho m a s New Brunswick, N. J.&#13;
pian sl-composer;&#13;
&#13;
,,, , THREE&#13;
&#13;
t&#13;
&#13;
fi&#13;
m&#13;
&#13;
i!&#13;
&#13;
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&#13;
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f&#13;
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':··. :'•.&#13;
:.•'.:&#13;
&#13;
and&#13;
&#13;
four&#13;
&#13;
concerts&#13;
&#13;
a month have been sched-&#13;
&#13;
. . ..&#13;
&#13;
Dec. 18 - Carnegie Recital&#13;
HaH, New York.&#13;
A&#13;
Feb. 7 - Albright-Knox rt&#13;
Gallery.&#13;
Feb. 11-Rutgers University,&#13;
New Brunswick, N. J.&#13;
Feb. 12 - Carnegie Recital&#13;
Hall, New York.&#13;
Feb. 25 and 26 - Canlslus&#13;
College Centennial Concert in&#13;
the Albright-~nox Art Gallery.&#13;
March 15 _ Albright-Knox&#13;
Art Gallery.&#13;
March 18-Rutgers Univer·&#13;
sity, New Brunswick, N. J.&#13;
March 19- Carnegie Recital&#13;
Hall, New York.&#13;
April 29-Ru tgers ·university,&#13;
New Brunswick, N. J.&#13;
April 30 - Carnegie Redtal&#13;
Hall, New York.&#13;
May 3 - Albright-Knox Art&#13;
Gallery.&#13;
&#13;
; , --------------------------------------------~------------~-------------------&#13;
&#13;
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                    <text>Buffalo Evening News
[September
1969]

On the 'Evening for New Music’
Three and four concerts Howell, flutist; Peter Kotik,
a month have been sched
uled
from
November
to
May by the Center of the
Creative and Performing Arts
in the State University of Buf
falo for its "Evenings For New
Music” series.
This year’s Creative
Associates will be heard in
concert in Buffalo, New York
and Toronto. Returning
members of the Center are
Edward Burnham, percussion
ist; Charles Haupt, violinist;
Jerry Kirkbride, clarinetist;
Jonathan Marcus, guitarist;
Ronald Peter, pianist; Gwendo
lin Sims, soprano; Marijke Ver
berne, cellist, and Jan Willi
ams, percussionist.
* *
First-Year members of
the Center are Julius Eastman,
pianst-composer;
Thomas

December 18 — Carnegie Recital
flutist-composer, and Joseph Hall, New York.
Krysiak, theater associate. In
February 7 — Albright-Knox Art
addition the Center will invite Gallery.
guest composers, among them
February 11—Rutgers University,
Herbert Brun, Robert Ashley
and Norway’s Arne Nordheim. New Brunswick, N. J.
"Evenings For New Music”
February 12 — Carnegie Recital
held here in the Albright-Knox Hall, New York.
Art Gallery begin at 8:30 PM
February 25 and 26 — Canisius
and are free to the public. The
College Centennial Concert in
complete schedule follows:
the Albright-Knox Art Gallery.
November 4 — York University,
March 15 — Albright-Knox
Toronto.
Art Gallery.
November 8 — Albright-Knox Art
March 18—Rutgers Univer
Gallery.
sity, New Brunswick, N. J.
November 14 — Hamilton College, March 19 — Carnegie Recital
Hall, New York.
Clinton, N. Y.
November 15 — State University of April 29—Rutgers University,
New York at Albany.
New Brunswick, N. J.
December 13 — Albright-Knox Art April 30 — Carnegie Recital
Gallery.
Hall, New York.
December 17—Rutgers University, May 3 — Albright-Knox Art
Gallery.
New Brunswick, N. J.

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                    <text>[September 29, 1969]

5 New-Music Artists
Join UB Center
For Eventful Year
Five new Creative Associates
of the UB Center of the Creative
and Performing Arts will join
a returning half - dozen com
posers and performers for an
eventful year of presenting new
music here and on tour.
This is the group that has
made a name in the nation with
its “Evenings for New Music”
series in Carnegie Hall, New
York City, and Albright-Knox
Art Gallery. The new associ
ates are:
Composer-pianist Julius East
man, also a gifted singer;
graduate of Curtis Institute in
Philadelphia, currently a faculty
member of Buffalo State Col
lege.
Composer-flutist Thomas How
ell, recently of the University
of Illinois faculty, former mem
ber of the Contemporary Cham
ber Players.
Theater director-actor Joseph
Krysiak, already known to Buf
falo for his Workshop Reper
tory Theater, experimental and
avant-garde productions.
Pianist Ronald Peters, wellreceived recitalist in Buffalo and
faculty member of Villa Maria
Institute.
Electronic technician George
Ritscher of the University of
Illinois faculty, associated with
national premieres of works by
Gage, Hiller, Martirano, Ben
Johnston.
Flutist-composer Peter Kotik
will join the associates in the
second semester.
Returning associates are per
cussionist Edward Burnham,
violinist Charles Haupt, clarin
etist Jerry Kirkbride, soprano
Gwendolin Sims and cellist
Marijke Verberne.
The center co-directors are
Lukas Foss and resident Slee
Professor Lejaren Hiller. The
coordinator is Renee Levine.
The group’s first gallery pro
gram will be Nov. 8 and there
will be November tour ap
pearances in Toronto, Albany
and Hamilton College. The first
Carnegie Recital Hall date is
December 18.

�</text>
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                <text> With references to the following additional composers: Thomas Howell, Joseph Krysiak, Ronald Peters, George Ritscher, Cage, Hiller, Martirano, Ben Johnston, Peter Kotik</text>
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                <text>eastman_018</text>
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            <elementTextContainer>
              <elementText elementTextId="1915662">
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  <item itemId="77334" public="1" featured="0">
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                  <elementText elementTextId="1992059">
                    <text>Courier Express

[May 18, 1969]

Music Calendar

Philharmonic Concerts Are Set
This Afternoon, Tuesday Night
The Buffalo Philharmonic
Orchestra will present the final
pair of season subscription con
certs today at 2:30 P.M. and
Tuesday at 8:30 P.M. in Klein
hans Music Hall.
Lukas Foss will conduct Bee
thoven’s Ninth Symphony and
Stravinsky's “Les Noces" (“The
Wedding").
Vocal soloists will be soprano
Gwendolin Sims, alto Mar
garethe Bence, tenor Warren
Hoffer and baritone Richard
Allen. The Festival Chorus of
the State University College at
Fredonia will be directed by
Harriet Simons.
Pianists in the Stravinsky will
be Yuji Takahashi, Julius East
man, Nils Vigeland and Charles
Bornstein. “Les Noces” is for
vocal quartet, chorus, percussion
and four pianos.
The Beethoven Ninth Sym
phony will conclude the program.

Music By University of
Buffalo, faculty composers will
be presented in a concert at
8:30 P.M. Monday in Baird Hall
on the campus. There is no ad
mission charge.
The program will have Le
jaren Hiller’s “Fanfare”; Ron
ald Tremain’s Prelude, Aria and
Variations for piano; Allen
Sapp’s “7 Epigrams, both Sweet
and Sour” for bass and piano;
Ramon Fuller’s Two Pieces for
Nine Brasses; Robert Mols’s
Four Miniatures for piccolo,
three flutes and alto flute; Hil
ler’s Piano Sonata No. 5; and
Carlo Pinto’s "Interference ’69.”

[32 TV Section]

Performers are the University
Brass Chamber Winds, directed
by Larry Brentzel; Stephen
Manes, piano; Heinz Rehfuss,
bass; Carlo Pinto, piano; Laur
ence Trott, piccolo; Jacob Berg,
Eiko Ito and Anthony Carere,
flutes; Robert Mols, alto flute;
Kenwyn Boldt, piano; Charles
Haupt, violin; Allen Sigel, clari
net: Marijke Verberne, cello;
and Jan Williams, percussion.

55 Ralston Avenue, Town of Tona
wanda. Larry Frank will direct
the orchestra and MRS. Audrey
Mernan will direct the chorus.

“Carman Jones” will be
presented by the Buffalo Phil
harmonic Orchestra, conducted
by Melvin Strauss, in the final
pops concert of the season at
8:30 P.M. Friday in Kleinhans
Music Hall.
Featured artists will be La
Vergne Monette, Gwendolin
Sims, Mareda Gaither, Alexan
der Yancy and Thomas Carey.
The East High School Choir will
be directed by Donald Hilliard.

Colin Corbett will present
“An Evening With the Mighty
Wurlitzer Theater Organ" at
8 P.M. Wednesday at the Riviera
Theater, 67 Webster ST., North
Tonawanda. Corbett is organist
at the Odeon Carlton Theater
in Toronto. The program is
under the auspices of the Nia
gara Frontier chapter of Ameri
can Theater Organ Enthusiasts.

The Sweet Home Concert
Chorale, directed by Vera Green,
will present its annual spring
concert at 2:30 P.M. today in
the auditorium of Sweet Home
Senior High School. There is no
admission charge.
The program will include mu
sic by Orlando de Lassus,
Brahms, Deems Taylor, Hous
ton Bright and Jim Webb. Stu
dent accompanists will be Don
na Grant and Anita King.

Attica Central School will
present a concert by the Senior
High Band and Chorus, direct
ed by MRS. Genevieve B. Smith
and John Arthurs at 8 P.M.
Monday at the school. The pub
lic is invited.

The Crescendo Club of
the National Assistant of Negro
Musicians will present the De
crescendo Club, the junior
branch of the association, in a
program at 4 P.M. today at St.
Philip’s Episcopal Church, 166
Goodell ST.

The Cheektowaga Com
munity Chorus, directed by MRS.
John Greenan, will present its
annual spring concert today at
3 P.M. in the auditorium of
Cheektowaga
Central
High
School, 3600 Union Road, Cheek
towaga. Admission is free.
Roy Kehl will present an
organ recital at 4:30 P.M. today
at Holy Mother of the Rosary
Cathedral, 182 Sobieski Street.
Kehl. who is associate professor
of organ at Houghton College,
will play works by Bach, Stan
ley, Micheelsen, Franck and
Vierne. The public is invited.
Horace Mann Elementary
School will present a program
at 8 P.M. Tuesday at the school,

Ruth Mohn, soprano, will
present a senior recital at 8:30
Wednesday evening in Baird
Hall, University of Buffalo.
There is no admission charge.

Eden Central High School
Band, directed by Walter Dow
ney, and the Maine-Endwell
Band, directed by Samuel Cifon
elli, will present a concert at 8
P.M. Friday in the auditorium
of Eden Central High School.
Piano Pupils of Laura Kel
sey will present a recital at
8:15 P.M. Monday in Livingston
Hall, Kleinhans Music Hall. The
public is invited.

Polish songs will be pre
sented by baritone James Prze
pasniak in a program at 8:30
P.M. Wednesday at the Polish
Arts Club, Junior League
Rooms, Delaware Avenue
. He will
be assisted by pianist Eva Rau
tenberg in songs by Paderew
ski, Szymanowski, Zelenski and
Karlowicz.

�</text>
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                <text>Eastman, Julius </text>
              </elementText>
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              </elementText>
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                <text> Date of event: 1969-05-19 </text>
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                <text> Note: Eastman as performer in Stravinsky's Les Noces</text>
              </elementText>
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              </elementText>
            </elementTextContainer>
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              <elementText elementTextId="1198828">
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              </elementText>
            </elementTextContainer>
          </element>
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              <elementText elementTextId="1198829">
                <text>1969-05-18</text>
              </elementText>
            </elementTextContainer>
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              <elementText elementTextId="1198830">
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                <text>eastman_017</text>
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              <elementText elementTextId="1198836">
                <text>Julius Eastman Clippings Database, 1968-1979</text>
              </elementText>
              <elementText elementTextId="1198837">
                <text> LIB-MUS024</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
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            <elementTextContainer>
              <elementText elementTextId="1915663">
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  <item itemId="77333" public="1" featured="0">
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                  <elementText elementTextId="1992060">
                    <text>Review

Courier Express

[March 19, 1969]

Eastman Traces Music
By Thomas Putnam
Julius Eastman traced his de
velopment as a composer in a
program of his music Tuesday
evening in the Communication
Center of Buffalo State College.
The earliest work was “Three
Pieces for Violin and Piano,” per
formed by Harry Taub, associate
concertmaster of the Buffalo
Philharmonic, and the composer.
This was followed by “Four Piano
Pieces” (1968) and a section from
Eastman’s most recent work — a
ballet.
From Early Opera
The first violin and piano piece
was salvaged by Eastman from
an opera — it is the only part of
the opera he likes now. It makes
a fine arrangement for violin and
piano, and in fact the modal qual­
ity of the music, with its sad
minor intervals, fits the violin
very well.
Eastman, who gave a relaxed
commentary on his music, said
the second piece incorporated the
rhythm of a walking crippled
man whom he once observed, and
that the third piece was "just a
piece.” There is a syncopated
walking feeling in the piano part
of the second piece — so that a
jerky ostinato pattern results —
and the expressive range is larger
than that of the first piece.
In the third piece a smooth
counterpart is established be
tween violin and piano. Microtonal effects are used as the vio
lin rises gradually against an
emphatic piano. After an ener
getic section, with intense violin
double steps, and an almost fugal
dialogue, the opening is recapitu
lated in a subdued manner.
Good Technique
This music is Eastman’s past.
He spoke of his teacher, who de
manded a good technique above

everything else. “The only trou
ble,” Eastman said, “is that you
master something so well you get
tired of it.”
In his “Four Piano Pieces”
(performed by the composer at
an “Evenings for New Music”
concert in December), Eastman
made a significant break with the
past. “I tried to use different
forms, different sounds,” East
man said. “These piano pieces
mean struggle — try to get out.”
The piano is not enough to ex
press what Eastman wants. In the
second piece, for example, which
is largely a counterpoint between
two wavering notes and a more
nervous and energetic keyboard
activity, the composer suddenly
introduces his own voice in a ris
ing pitch that gives the impres
sion that the wind has entered the
concert hall.
Taps with Mallet
Eastman also taps on the piano
with a mallet and, in the final
piece, accompanies his piano
music with a foot shuffle.
Eastman said that “Earth
Dance” for chorus, violin, speak
er and dancer (which is a section
of a ballet dealing with the earth,
moon and sun) is “something new
for me.” He is composer, poet
and choreographer.
The performers included Carole
Weiner, who danced with tense,
nervous energy: the Jongleurs of
the Community Music School,
who clapped, clicked their fingers
and stomped their feet (in addi
tion to singing); and violinist
John Mohnkern. Eastman con
ducted the performance, getting
an alert response from the chorus
in its tightly pitched music.
In the ballet he is dealing with
the counterpoint of the earth,
moon and sun. Now that’s some
thing you won't read about in any
music treatise.

�</text>
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                    <text>Courier Express
M
[ arch 17, 1969]

Julius Eastman

Concert — Music by com
poser Julius Eastman will be
performed at 7:30 P.M. Tues
day in Lecture Hall N. Com
munication Center, Buffalo
State College. Performers in
clude Harry Taub, violin;
Gwendolin Sims, soprano; and
dancer Carol Winer. The public
is invited to the program.

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                    <text>New York Times&#13;
&#13;
1\llusic: Of Recent\/ i11tage&#13;
3 Works by Americans&#13;
Get Local Premieres&#13;
By HAROLD C. SCHONBERG&#13;
L'VENINGS FOR NEW MU1~ SIC, las t night in Carne;.:lc Recital Ha ll, mixed young&#13;
AnYrican composers w1th&#13;
two- t hirds of t he Viennese&#13;
tr :nily. Alba n Berg's Four&#13;
P iP r es for clarinet and piano&#13;
( I '.i2 4) and Anton Webern's&#13;
S:x Songs (1917-21) were the&#13;
rontr'hu• :ons from Vi enna .&#13;
From th ;s cou ntry came Edward 1\pplebaum's " Montages'' (1968), Julius Eastman's Piano Pieces (1968)&#13;
and Bernard R'1nds's "Expressione IV" (1964). These were&#13;
first performances in New&#13;
York. There also was Michael&#13;
Colgrass's&#13;
" Light&#13;
Spirit"&#13;
(1963), which has been heard&#13;
he re before.&#13;
The Be rg and Webern&#13;
works have ne \'er established&#13;
:hemselvcs in the repertory,&#13;
and it wa:, inte re sting t0 bear&#13;
them, e ,pcciall:' iuxt;;posed&#13;
to mus ic that stemmetl, more&#13;
or less. from their school.&#13;
Berg's F0u r Piece3, thottgh&#13;
ea rly works and in an intensified form of postromanticisr.l. neve rtheless have the&#13;
melod ic jumps and Yery petso na l harmoni es that were t0&#13;
lt&gt;ad to "Woneck ." \VE'be r n'&lt;;&#13;
songs, ato nal hut no r .;e-:d 1.&#13;
are ~hu~l ( the six are •Aer in&#13;
less th an sev"n mm utc s) r•;prrssi0f1i sti c, frequently p•lln tillistic and full of the ,,,, _&#13;
I ure~ a11rl nrgani z-!ti'&gt;:l lll't&#13;
have tW\de h im t he l1&lt;&gt;ro r,f&#13;
the avant-garde.&#13;
&#13;
•&#13;
&#13;
Tt w;;s lntrrPsting tn ro mpare the w0rk:. C(J \ posed in&#13;
1968 with the Rand&lt;; ·'E~pres ­&#13;
s ione N" of 1964. The Applebaum and Eastman piece ,&#13;
whatever their success or&#13;
failure , look , for di ffe rent&#13;
th ings. Within the last two&#13;
years the . stranglehold . of&#13;
t he post-Webern, totally orga nized school of compo sition has relaxed. Mr. Rand &lt;;'s&#13;
work, four years back, reflects the doctrinaire approach, while Mr. Ea stman&#13;
and Mr. Applebaum are trying for a more direct f01m&#13;
of communication.&#13;
"Espressione" uses every&#13;
cliche from Messiaen and&#13;
Stockhausen on. It is scored&#13;
for two pianos, and has the&#13;
expected clusters, inside-thepiano pluckings, register contrasts, and so on. It is not&#13;
a long work, 1~ than 7 min utes, but it seems to las t&#13;
twice as long. It is really remarkably conventional, with&#13;
all of its enfant terrible yowl-&#13;
&#13;
The Program&#13;
EVEN I·NGS FOR NEW MUSit, preoared&#13;
bv Luk&lt;n Foss. At Ca rneg ie Recit•l&#13;
Hall.&#13;
Mon!ao•• (1968) .... . Edward Aoolobaum&#13;
Four Pieoces for Clarlnet 1nd&#13;
Piano , Oo. 5 (l\&gt;24) .. ..... . AibM B•' •&#13;
&#13;
Piano P ier ~ s (1969) . .. . Julius Eastman&#13;
Espr~ssione&#13;
Ugh~ SP nt&#13;
&#13;
IV (196-4 ) . . . Bernard Rands&#13;
&#13;
( 1963)&#13;
&#13;
.. Micn ael Colgrass&#13;
&#13;
ings, at ,d it will end up with&#13;
the det:'i tus of the period.&#13;
lt is not that the Appleh ~um a nd Eastman p ieces are&#13;
devoid of some of the lingua&#13;
franca of the musical avantgarde . But in both works&#13;
then~ is an attempt to inV0lve the compose r with the&#13;
listener in a more personal&#13;
style.&#13;
Mr.&#13;
Applebaum's&#13;
"Montages," a study in color&#13;
for piano, clarinet and cello,&#13;
has -some curiously latent&#13;
romanticism. It is, on the&#13;
who le, a gentle piece, often&#13;
me andering, and not determinedly dissonant or theoryndden.&#13;
In his P iano Pieces, Mr.&#13;
Eastman has tried to shoot&#13;
the works. There are touches&#13;
of impressionism next to&#13;
clusters and rappings on the&#13;
piano. Some foot- tapping and&#13;
shuffling provide an · accompaniment in one spot; an&#13;
off-stage electronic-sounding&#13;
glissando in another . John&#13;
C'agr&gt; jnstles Karlheinz Stockh ausr·ll . But if the style is as&#13;
ye t unfo rme d. there is a genu tn e vitalltv in the music.&#13;
PE'rhaps Mr.- Eastman will, in&#13;
future works. dis card the&#13;
fashionable trappings and settle down to thE' real thing.&#13;
&#13;
•&#13;
&#13;
Which l eavE' ~ Mr. Co lgrass's&#13;
"Light Spirit," co mposed in&#13;
1963. This is a different mattt-r, for from the beginning&#13;
th :s compo&lt;;er has always&#13;
heen !iomething of a maverit.k. He has absorbed the&#13;
avant-garde styles, but has&#13;
blended them into an individual mixture that follows no&#13;
set recipe. In a way he is the&#13;
Robe rt Schumann, or maybe&#13;
the Charles Wakefield Cad man, of the movement. He&#13;
composes lyric tone·pictures&#13;
of a Highly subjective nature.&#13;
"Light Spirit" bounces along&#13;
with evocations of jazz, the&#13;
baoque and serialism, not&#13;
taking any 'Of them especially&#13;
seriously. The result has a&#13;
curious charm.&#13;
A long list of musicians from&#13;
the Center of the Creative&#13;
and Performing Arts in the&#13;
State University of New York&#13;
participated in the program.&#13;
Th.t re were too many to name,&#13;
but special mention must be&#13;
made of the very styJish sing· ·!&#13;
ing of Gwendolin Sims in }bt!&#13;
Wehern songs.&#13;
·&#13;
··&#13;
&#13;
�</text>
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                    <text>New York Times [February 5, 1969]

Music: Of Recent Vintage
3 Works by Americans
Get Local Premieres
By Harold C. Schonberg
Evenings For New Music
, last night in Carne
gie Recital Hall, mixed young
American composers with
two-thirds of the Viennese
trinity. Alban Berg’s Four
Pieces for clarinet and piano
(1924) and Anton Webern’s
Six Songs (1917-21) were the
contributions from Vienna.
From this country came Ed
ward Applebaum’s “Mon
tages” (1968), Julius East
man’s Piano Pieces (1968)
and Bernard Rands’s “Expres
sions 4" (1964). These were
first performances in New
York. There also was Michael
Colgrass’s
“Light Spirit”
(1963), which has been heard
here before.
The Berg and Webern
works have never established
themselves in the repertory,
and it was interesting to hear
them, especially juxtaposed
to music that stemmed, more
or less, from their school.
Berg’s Four Pieces, though
early works and in an inten
sified form of postromanti
cism nevertheless have the
melodic jumps and very per
sonal harmonies that were to
lead to “Wozzeck.” Webern’s
songs, atonal but not serial,
are short (the six are over in
less than seven minutes) ex
pressionistic, frequently poin
tillistic and full of the tex
tures and organization that
have made him the. hero of
the avant-garde.

•

It was Interesting to com
pare the works composed in
1968 with the Rands “Espres
sione 4" of 1964. The Apple
baum and Eastman pieces,
whatever their success or
failure, look , for different
things. Within the last two
years the stranglehold of
the post-Webern, totally or
ganized school of composi
tion has relaxed. MR. Rands's
work, four years back, re
flects the doctrinaire ap
proach, while MR. Eastman
and MR. Applebaum are try
ing for a more direct form
of communication.
“Espressione” uses every
cliche from Messiaen and
Stockhausen on. It is scored
for two pianos, and has the
expected clusters, inside-thepiano pluckings, register con
trasts, and so on. It is not
a long work, less than 7 min
utes, but it seems to last
twice as long. It is really re
markably conventional, with
all of its enfant terrible yowlings

The Program
Evenings For New Music, prepared
by Lukas Foss. At Carnegie Recital
Hall.
Montages (1968) . Edward Applebaum
Four Pieces for Clarinet and
Piano, Op. 5 (1924) ....... Alban Berg
Piano Pieros (1963) . Julius Eastman
Espressione 4 (1964) . Bernard Rands
Light Spirit (1963)
. Michael Colgrass

and it will end up with
the detritus of the period.
It is not that the Apple
baum and Eastman pieces are
devoid of some of the lingua
franca of the musical avantgarde. But in both works
there is an attempt to in
volve the composer with the
listener in a more personal
style.
MR.
Applebaum’s
“Montages,” a study in color
for piano, clarinet and cello,
has some curiously latent
romanticism. It is, on the
whole, a gentle piece, often
meandering, and not deter
minedly dissonant or theoryridden.
In his Piano Pieces, MR.
Eastman has tried to shoot
the works. There are touches
of impressionism next to
clusters and rappings on the
piano. Some foot-tapping and
shuffling provide an ac
companiment in one spot; an
off-stage electronic-sounding
glissando in another. John
Cage jostles Karlheinz Stock
hausen. But if the style is as
yet unformed, there is a gen
uine vitality in the music.
Perhaps Mr. Eastman will, in
future works, discard the
fashionable trappingsand set
tle down to the real thing.
•
Which leaves MR. Colgrass’s
“Light Spirit,” composed in
1963. This is a different mat
ter, for from the beginning
this composer has always
been something of a maver
ick. He has absorbed the
avant-garde styles, but has
blended them into an individ
ual mixture that follows no
set recipe. In a way he is the
Robert Schumann, or maybe
the Charles Wakefield Cad
man, of the movement. He
composes lyric tone-pictures
of a highly subjective nature.
“Light Spirit” bounces along
with evocations of jazz, the
baroque and seriahsm, not
taking any of them especially
seriously. The result has a
curious charm.
A long list of musicians from
the Center of the Creative
and Performing Arts in the
State University of New York
participated in the program.
There were too many to name,
but special mention must be
made of the very stylish sing
ing of Gwendolin Sims in the
Webern songs.

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                    <text>contemporary music at carnegie hall

evenings for new music
prepared by Lukas Foss
season 1968-69
fifth annual series
presented by
the carnegie hall
corporation
in conjunction with the
center of the creative
and performing arts
in the state university
of new york
at buffalo
lukas foss and
lejaren hiller directors

fourtuesdays
at 8:30 P.M.

carnegie recital hall
february 4, 1969

montages (1968)*

edward applebaum

miss verberne; messrs. kirkbride, manes

four pieces for clarinet and piano, op. 5 (1924)

alban berg

messrs. kirkbride and manes

julius eastman

piano pieces (1968)*

MR. eastman

six songs, op. 14 (1917-21)

anton webern

misses sims, verberne; messrs. kirkbride, yadzinsky, haupt
jan williams, conductor

intermission

espressione 4 (1964)*

bernard rands

messrs. eastman and takahashi

light spirit (1963)

michael colgrass

messrs. cram, levine, marcus, burnham, williams
melvin strauss, conductor
*first new york performance

�</text>
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                    <text>At Albright-Knox Courier Express

[Februay3,196 ]

New Music Concert
By Thomas Putnam
The “Evening for New Music”
program Sunday night at the
Albright-Knox Art Gallery was
remarkable in two ways: there
were not a theater piece to be
seen, and works by Berg and
Webern were performed. This was
in contrast with what seems to
be the prevailing policy of the
University of Buffalo's Center of
the Creative and Performing Arts,
that is, of moving so quickly into
the future that the pioneers of
modern music are left behind.
Edward Applebaum, a California
composer, was on hand to hear
a lovely performance of his “Mon
tages” by cellist Marijke Ver
berne, clarinetist Jerry Kirkbride
and pianist Stephen Manes. The
composer has a sensitive ear for
blending instrumental colors. This
was followed by Berg’s Four
Pieces for clarinet and piano,
which received a refined and ex
pressive performance by Kirk
bride and Manes. There were
sudden flames of emotion as well
as a gentleness of articulation
which was impressive.
Flute Solo
Robert Cram played Franco
Evangelisti’s “Proporzioni” for
solo flute. The music abounds with
trills and bent tones, which have
a humorously distorted effect.
Cram went suddenly from biting
high tones to seductive low tones.
His performance contained bright
dots of sound, nervous flutters,
quick blasts of air. The music
sounded as a chain of events
separated in time, there was little
sense of continuity.
Gwendolin Sims was the ex
cellent soprano in Webern’s Six
Songs, Op. 14. Her voice was
large, warm and flexible. Jan
Williams conducted the chamber

ensemble, which had Miss Ver
berne, Kirkbride, violinist
Charles Haupt and bass clarinet
ist Edward Yadzinsky.
Dual Pianists
Julius Eastman and Yuji Taka
hashi were the pianists in a
successful performance of the
English composer Bernard
Rand’s “Expressione 4” for two
pianos. The idea of the piece is
to begin with two distinct piano
sounds and gradually work
toward a harmony of noise.
Eastman began with hard,
booming low attacks and Taga
hashi followed with nervous mouse
skitterings, high and fast. The
contrast thus secured, the work
continued rather a long time be
fore the final resolution of dense
sonorities and elbow chords (this
was a close, perhaps, as the pro
gram got to theater music). In
a final tag, both pianists played
the low and high extremes of
their pianos together.
James Tenney’s Collage No. 1
for tape alone, a zoo piece of
roaring lions and talking birds,
was realized at the Experimental
Music Studio at the University of
Illinois. The recorded source ma
terial, which was transformed ac
cording to techniques of musique
concrete, was Elvis Presley’s
“Blue Suede Shoes.” The “real”
music makes itself felt amusingly.
Melvin Strauss conducted a
performance of Michael Colgrass’s
“Light Spirit” which lived up to
the name of the piece. The mus
ic has lovely solos for viola and
flute (played by Jesse Levine
and Cram), and includes a jazzy
section for percussion (Jan Wil
liams and Ed Burnham). Jona
than Marcus provided the smooth
jazz guitar chords.

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                    <text>Buffalo Evening News

[February 2, 1969]

The Gallery [2/2/69 BEN] By John Dwyer

UB Creative Series Surprises
With Fine Chamber Music
From the audience packed to the walls, you might
have thought the UB Creative Associates “Evenings for
New Music” series was going to stage one of its musical
riots with special lighting Sunday evening in AlbrightKnox Art Gallery auditorium.
Quite the contrary. It was
nearly all fine-line chamber
music in groups no larger than
quintet, down to trio, duo, solo
and then nobody, in the form of
a work for electronic tape alone.
Stylistically, if you wanted to
make a deucedly clever little in
side joke for the musical polo
club, you could say it was an all
Western program by several
composers.
There was plenty of in
dividuality, of course, in works
ranging from Anton Webern
himself, 50 years ago, to several
works of the last ten years.
* * *
Still, It Would be hard to
imagine the manner and speak
ing quality of a good deal of this
later music but for the prophetic
Webern, the force of his instant
episode and the power of
pristine delicacy, one couldn’t
have realized before it happened
that the great boulder of
Romanticism would be moved
aside by this atonal blade of
grass.
The Webern Six Songs Op. 14
were sung by soprano Gwen
dolin Sims against the lovely in
strumentation of violin and viola
(Charles Haupt and Marijka
Verberne) and clarinet and bass
clarinet (Jerry Kirkbride and
EdWard Yadzinsky.) Conducted
by Jan Williams, it was an ap
pealing performance with a
lithe, graceful soprano line in
this fairly early Webern, still
with a harmonic reflex, and a
completely intoned version of
poetic speech.
* * *
Cellist Verberne,
clarinetist Kirkbride and pianist
Stephen Manes played some
swift-passing, evanescent “Mon
tages” of Edward Applebaum, a
cyclic effect and a nostalgic one
in the recurrence of moody
themes and patterns in new or
half-remembered forms, with a
hypnotic threnody in the cello
for a close.
Messrs. Kirkbride and Manes
played the 1924 pieces Op. 5 of
Alban Berg, one-page im
pressions of allusive grace and
great subtlety in clarinet af
tertones and second thoughts,
finely done.

Flutist Robert Cram played
the Evangelisti “Proporzioni,” a
free-form use of trill, harmonic,
flutter and leap after the man
ner of the original Varese and
seconding Berio works in a live
ly Italian flute tradition. Good
tone and deft work.
* * *
Pianists Julius Eastman
and Yuji Takahashi offered a
surprisingly substantial and

dramatically involved
“Ex
pressione 4” by Bernard
Rands. Not a duo work, really,
but two performers developing a
single design, sounding an im
plied passacaglia in the deep
bass and adventuring through
all sorts of tonal and dynamic
curves.
The tape work, Collage No. 1
by James Tenney, sounded like
a shattered Elvis Presley
record, stuck back together with
Stockhausen’s Everlast Glue.
“Light Spirit” by Michael
Colgrass, for flutist Cram,
violist Jesse Levine, guitarist
Jonathan Marcus, percussionists
Edward Burnham and Jan
Williams, was a marvel of
breathy illusion, a feather brush
and fingernail glide and tonal
wisp of a performance, with a
whispered undertone of jazzy
syncopation.
Conducted
by
Melvin Strauss, it was ex
quisitely controlled and muted.
Once more, somewhere in the
UB programming, would be
fine.

�</text>
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                <text> LIB-MUS024</text>
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            <name>Rights</name>
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            <elementTextContainer>
              <elementText elementTextId="1915669">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).&lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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                    <text>Evenings For New Music
Montages (1968)*........................................................... Edward Applebaum

Miss Verberne; Messrs. Kirkbride, Manes

Four Pieces For Clarinet And Piano, OP. 5 (1924)

.

Alban Berg

Messrs. Kirkbride and Manes

Proporzioni, strutture per flauto solo (1958) *_

Franco Evangelisti

MR. Cram

Six Songs, OP. 14 (1917-21)...................................................... Anton Webern

Misses Sims, Verberne; Messrs. Kirkbride, Yadzinsky, Haupt

Jan Williams, conductor

— Intermission----

Espressione 4 (1964)*...................................................... Bernard Rands
Messrs. Eastman and Takahashi

College NO. 1 for tape alone (1961)*.................................. James Tenney

Light Spirit (1963)*........................................................... Michael Colgrass
Messrs. Cram, Levine, Marcus, Burnham, Williams
Melvin Strauss, conductor
*First Buffalo performance

�</text>
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                <text> Note: Eastman as performer of Bernard Rands' Espressione IV</text>
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                <text>1969-02-02</text>
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            <elementTextContainer>
              <elementText elementTextId="1915670">
                <text>&lt;a href="http://rightsstatements.org/vocab/InC-EDU/1.0/"&gt;IN COPYRIGHT - EDUCATIONAL USE PERMITTED&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). &lt;a href="https://library.buffalo.edu/music/about/copyright.html"&gt;Copyright Statement for Digitized Materials from the Music Library&lt;/a&gt;</text>
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  <item itemId="77326" public="1" featured="0">
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                  <elementText elementTextId="1992068">
                    <text>Courier Express [December 28, 1968]

Kleinhans Music Hall

[BCE 12/28/1968]

Menotti ‘Amahl’ Opera
Stars Marlene Badger
By Thomas Putnam
The third annual Holiday Fes
tival of the Buffalo Philharmonic
Orchestra began Friday afternoon
in Kleinhans Music Hall with
a staged production of Menotti’s
“Amahl and the Night Visitors.”
Melvin Strauss, the music direc
tor of the festival, conducted the
opera, which made its debut on
NBC television in 1951. The cast
featured Marlene Badger as
Amahl’s mother, and' Victor Uns
worth, a boy soprano from Scar
borough, Ont. as Amahl.
Rich Voice
Miss Badger gave a strong per
formance as the mother. Her
voice was strong and rich, and
she moved with assurance in her
part. She might have been a shade
nastier to Amahl, in other words
more desperate with her poor and
miserable life.
As Amahl, Unsworth lacked a
devilish spark. He failed to show
that Amahl is a high-spirited boy
who has learned to use his crutch
like a plaything. One missed the
irony of seeing a crippled boy
move about the stage with high
spirits.
Three Kings
Unsworth’s voice sounded big
at times, but this was the appar
ent result of amplification. None
of the other voices seemed ampli
fied. Also, it was not a particu
larly lucid voice, and one had the
impression that Unsworth was ex
periencing an off-day.

The three kings were played
with slow moving comic dignity
by Warren Hoffer, Laurence
Bogue and Julius Eastman. The
singing was relaved and secure,
as befits three men who are on
a long journey. The page was
Samuel Herr.
Bright Dance
One of the bright spots of the
production was the dance by Gina
Bank, Diane Lewis and Barry
Leon. The choreography by Frank
Bourman is simple and appealing,
and uses the limited space well.
Incidentally, Bourman’s ballet,
"The Magic Cloak,” will be pre
sented on Sunday afternoon’s fes
tival program by the Ballet Cen
ter of Buffalo.
The chorus of shepherds, who
filed on with offerings for the
kings, were the Jongleurs of the
Community Music School, direct
ed by Samuel Herr.
Cartoons Today
Assisting in the production were
Renate Strauss, stage director;
Ruth Gleaves, stage manager;
Joseph Glosson, technical direc
tor; John Crespo, costumer; and
Clementina Fleshier, rehearsal
pianist.
Only about 900 persons, mostly
young people, attended the per
formance. In this afternoon’s pro
gram the orchestra will be joined
by Stu Hample, who will illustrate
music by Tchaikovsky and SaintSaens with cartoons.

�</text>
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                    <text>Buffalo Evening News [December 28, 1968]
[Ben
By Herman Trotter
12/28/68]

Kleinhans Hall

'Amahl’ Is Delight
In Festival Opener
The Buffalo Philharmonic’s third annual Holiday
Festival for Young People opened Friday afternoon
in Kleinhans Music Hall with “Amahl and the Night
Visitors,” Philharmonic associate Melvin Strauss
ducting.
con
Few can resist the charm of
this Gian-Carlo Menotti modern
classic. The simple beauty of
the story enthralls children, its
wealth of melody captivates
adults and the glitter of its
almost Ravelian orchestration
works its way into the skin
of most musical sophisticates,
despite their natural tendency
to resist such overt loveliness.
Commissioned by the National
Broadcasting Co. for a Christ
mas television presentation in
1951, this opera is living evid
ence of what TV can do.
*
*
Friday’s Productions was
outstanding vocally. Treble Vic
tor Unsworth, 12, had the purity
of tone and innocence of stage
bearing necessary to generate
audience empathy for the crip
pled Amahl. His voice required
amplification which accentuated
the few uncertainties in the
higher reaches.
On occasion, alto Marlene
Badger, as the Mother, strayed
into vocal range of Amahl’s con
cealed microphone and became
unnecessarily amplified. Other
wise her rich voice and drama
tic sense were becoming the
fulcrum of the opera.
Tenor Warren Hoffer was ex
cellent as the quizzical, comical
King Kasper and baritone Laur
ence Bogue very believable as
the somewhat pompous King
Melchoir. His leadoff solo in the
quartet, “Have You Seen A
Child,” was outstanding.
With little in the way of solo
work, King Balthazar’s role was
ably filled by Julius Eastman.
His resonant bass voice was su
perb in ensemble. Samuel Herr
was the Page, a smaller role
well done.
Mere suggestions of house
walls, in the spare but well de
signed set, emphasized the pov
erty of Amahl and his mother.
Stage movement was generally
good, with the entry of the peas
ants through the visible rear of
the house, especially effective.
***
However, the kings’ at
tempts at regal bearing fell
short of the mark and into the
static. Their entrances from be
hind a transparent backstage

curtain created the hoped for
mystery, but sacrificed the elec
trifying feeling of participation
on the part of the young audi
ence which accompanies the
kings’ entrance down the aisle.
One could feel this lack.
A special nod goes to choreo
grapher Frank Bourman and to
young peasant dancers Gina
Bank, Diane Lewis and Barry
Leon for the sense of entreaty
captured in their dance for the
kings. The Jongleurs of the Com
munity Music School, directed
by Samuel Herr, made up the
peasant chorus.
Conductor Strauss held his re
duced pit orchestra and singers
in fine balance throughout and
pacing moved very well.
The Holiday Festival continued
today under Mr. Strauss with
cartoonist Stu Hample drawing
to the sounds of music, and
closes tomorrow with the prem
iere of the ballet “Magic Cloak”
by the Ballet Center of Buf
falo. Both concerts are 2 PM
starters.

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                    <text>Music Calendar

[BCE]

[12/22/68]

Orchestra to Present
3rd Holiday Festival
The Buffalo Philharmonic
Orchestra, under the direction
of associate conductor Melvin
Strauss, will present its third
annual Holiday Festival Friday,
Saturday and next Sunday in
Kleinhans Music Hall. Per
formances begin at 2 P.M.
Menotti’s “Amahl and the
Night Visitors” will be pre
sented Friday with a cast that
includes Victor Unsworth as
Amahl; Marlene Badger as
Amahl’s mother; Warren
Hoffer, Laurence Bogue and
Julius Eastman as the kings;
and Samuel Herr as the page.
The production will be staged
by Renate Strauss and choreo
graphed by Frank Bourman.
The chorus is The Jongleurs
from the Community Music
School.

Stu Hample will be the
cartoonist with the orchestra in
a program Saturday. He will
draw to music from Tchaikov
sky’s “Nutbracker” ballet and
Saint-Saens’s “Carnival of the
Animals.” Also featured in light
music will be the Children’s
Community Chorus of the
Niagara Frontier, directed by
Lillian Sandbloom Wilder. The
pianists in the Saint-Saens
“Carnival” will be Mary Sue
Payne and Charles Bornstein.
The Ballet Center of Buffalo
will present “The Magic Cloak”
ballet next Sunday. The ballet
is choreographed by Frank
Bourman to music of Tchaikov
sky. Director of the Ballet
Center is Kathleen Crofton. Im
ported soloists are Violette
Verdy and Conrad Ludlow of
the New York City Ballet, and
Luis Fuente of the City Center
Joffrey Ballet.
The Holiday Festival is spon
sored by the Women's Com
mittee of the Buffalo Phil
harmonic Orchestra.
Lukas Foss will conduct the
Buffalo Philharmonic Orchestra
in a performance of Handel’s

Victor Unsworth

... “Amahl"
“Messiah” at 2:30 o’clock this
afternoon in Kleinhans Music
Hall. Soloists are Anne Elgar,
soprano; Betty Allen, mezzo
soprano; Joseph Sopher, tenor;
and Raymond Michalski, bass
baritone. The chorus is the
Schola Cantorum and the Uni
versity of Buffalo Chorus.

Miranda Currie will
direct the Junior and Senior
Choruses of the Buffalo
Museum of Science in a
Christmas pageant at 3 o’clock
this afternoon in the Museum
Auditorium. Admission is free.

Robert
Schulz will
conduct the Assumption Church
Junior and Senior Choirs, and
the Canisius Glee Club in a
Christmas program at 8 o’clock
this evening in Assumption
Church.

The Intermediate Group
of the Chromatic Club will
present a program at 7:30 P.M.
Friday in the Williamsville
home of MRS. Daniel Pieczyn
ski.

�</text>
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                <text> Note: Eastman is performer in Amahl and the Night Visitors </text>
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                    <text>Buffalo Evening News

[December 16, 1968]

Gallery Auditorium [Dean 12/16/68] By John Dwyer

‘Spider Song’ Spins
Lengthy Web, Traps
An American Fantasy
“Spider Song” is inspired by comic - book hero
Spider Man, says composer Stanley Lunetta, but it
seems to be a whole newsstand of cartoons and im
pressions in flashing montage, to a fitful score of drums,
pot-cellar piano, trumpet, dialogue and a climax of
ening rock.
deaf
This was the feature spectacul
ar on the “Evenings for New
Music" concert to a packed
house, Sunday evening in Al
bright-Knox Art Gallery audi
torium. The program goes to
Carnegie Recital Hail in New
York tomorrow.
In “Spider Song” two com
posers, MR. Lunetta and Larry
Austin, portray two composers
working up a new rock song,
playing and talking and eventu
ally banging it out in thunder
ous fulfillment with the aid of
other players and sound-equip
ment operators. Behind reflect
ing gauze of a centered screen,
the main players appear and
disappear in trick lighting, with
a cartoon-panel effect.
* * *
Other Screens show stills
and color movies of the com
posers, salamanders, a red
capped guide and tour party,
abstracts and a bunch of mod
ern-age symbols and figures.
In the aisles, red-capped guide
Jan Williams recruited a tour
party from the seats and they
marched around all over, in
cluding on stage, while he ex
plained the whole thing.
I had to get out, after it built
up to the ear-piercing level, out
of a barrage of giant speakers.
It had hit its dramatic peak by
that time, anyway. The score is
budgeted for a half-hour, and
that’s easily 10 minutes beyond
the work’s natural build-up and
sign-off.
Other than that, it’s the whole
Street-side, youth-market Amer
ican Fantasy, what every guitartoting young man wants out of
life and the TV screen, and a
pungent commentary on him
and it and us.
***
Bartalozzi’s Concertazioni
presented oboist Lawrence
Singer with chamber grouppercussionist Jan Williams, gui
tarist Stanley Marcus, violist
Jesse Levine and bass Thomas
Coleman.
ft put the reed soloist into
subtle micro-tonal changes along

with viola, split resonances
sounding two and more partials
of a single oboe tone at the
same time, and other radical
ways of playing, in a somewhat
studious but well-crafted score.
Pianist-composer Julius East
man played four of his own
short pieces, sometimes involv
ing a rising, muted siren wail
from the performer himself, a
few raps on wood with a soft
mallet, and a paso doble with
his busy heels, as an accom
paniment to keyboard dance.
Brief, bright and imaginative,
they were received very well.
“Traces” by Roger Reynolds
involved pianist Yuji Takahashi,
cellist Marijke Verberne, flutist
Robert Cram and sound tech
nicians, in an overlay of theme
clusters and, yes, traces, to
long, stable-toned obbligatos in
electronic lines.
* * *
Composer Morton Subot
nick conducted a 10-member
ensemble in his own “Tarot,"
a reference to the ancient for
tune-telling cards, the move
ments in turn emphasizing
brass and metal percussion,
hide percussion, xylophone and
piano.
It proceeds from frame to
frame — scenario scenes, as it
were — total enclosures con
ducted almost exclusively for
duration and instrumental com
plex, exceedingly interesting de
signs involving some shouts
and handclaps, contrasting deli
cate figurations and one grand
roulade for drums and every
body. A strong piece, and large
enough to do well on an orches
tra series.
In the lobby, composer Jon
Hassell exhibited his “Lobby
Piece,” a table and magnetic
wired spheres, which were
rubbed on the surface by pass
ing attendees, producing an
electronically encoded music
work out of an art object. The
barriers between the arts are
crumbling, and composer Has
sell seems to have reared a
monument to their passing.

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              <elementText elementTextId="1915674">
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                    <text>Courier Express

[December 16, 1968]

'New Music' Concert [BCE 12/16/68]

Singer Charms Oboe
By Thomas Putnam bassist Tom Coleman; and per
Most noteworthy about the cussionist Jan Williams.
In Roger Reynold’s "Traces,”
"Evenings for New Music" con
cert presented Sunday night in which was the most successful
piece
of the evening (Morton
the Albright-Knox Art Gallery
Auditorium was the way it de Subotnick’s “The Tarot” came too
monstrated the advanced tech late for review), the instrumental
nique of the performer, and his ists are continually answered by
ability to take part, without seem live electronic modifications of
ing dull and lifeless, in a piece of themselves. Sustained tones by
music which also utilizes live cellist Marijke Verberne and
flutist Robert Cram were treated
electronic sounds.
The program was presented by electronically, so that the result
the University of Buffalo’s Center was a pleasant dissonant drone.
of the Creative and Performing Yuji Takahashi played quick
Arts, and was planned by Lukas chords on the piano, almost in
Foss and Lejaren Hiller, codirec imitation of a big time virtuoso,
and the electronic treatment —
tors of the center.
The oboe, for example, might the technological variation — was
seem the gentlest of instruments, droned in reply One got a good
capable of evoking pastoral idea of the advance that is rep
scenes. But it is also an engine of resented by Singer's oboe tech
the modern age. at least it is in nique when in hearing Miss Ver
the hands of Lawrence Singer. He berne’s electronically treated
was heard in Bruno Bartolozzi's cello it was almost as if Singer
"Concertazioni per oboe," a work was standing off-stage.
which explores a new world of Julius Eastman performed his
own Piano Pieces (1-4) with as
woodwind sound.
much expressivity as could be
Oboe Talks
mustered on the dull, lifeless
Singer blew chords on his oboe piano. It was amusing the way
whining, wheezing chords of a Eastman, in a rather traditional
not altogether pleasing nature. framework, has incorporated in
When he does this you would his pieces various theater ele
swear he has done something ments, as if he feels compelled to
wrong, and that he will soon obey the latest fashions. But
correct himself. And he does, or whereas the use of the mallet on
so it seems; but no sooner has the piano wood was silly, and not
he landed on a straight pitch, original, his rising glissando
when — Wheee — that oboe voice was effective (the way it
chord slips in again.
blended with the piano), and the
This performer has charmed little shuffling dance which ac
the oboe so that it talks — in companied the fourth piece was
small, quarter-tone intervals, and good comedy.
in glissandos that mirror the
effect produced just earlier by ‘Spider Song’
The program also Included
the double bassist. Singer pro
duced different tone qualities for Stanley Lunetta’s “Spider Song,”
the same note, and he even had a “real” situation (as opposed to
a polyphonic conversation with a theater situation) in which the
himself, holding a tone while in performers are “performing and
recording a rock song”; we are
terjecting little asides.
told that “An interesting side
Successful Work
product of ‘Spider Song' might be,
Bartolozzi’s work has many perhaps, a hit song.” Lunetta and
gentle melodies, and in one sec Larry Austin were the performers,
tion the ensemble produced quiet, Jon Hassell's “Map"—a ground
beautiful sounds. The other per of magnetic tape over which the
formers were Jesse Levine, who player runs a tape head, thus
played the final portion of the activating the stored sound —
piece with, a broken string: gui was on display during intermis
tarist Jonathan Marcus; double sion.

�</text>
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                <text> Date of event: 1968-12-15</text>
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                <text> With references to the following works by Julius Eastman: Piano Pieces I, II, III, IV</text>
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                    <text>Evenings For New Music
Concertazioni per oboe e alcuni strumenti (1965)

.

Bruno Bartolozzi

Lawrence Singer and Messrs. Williams, Levine, Marcus, Coleman

Spider Song (1968)..........................

Stanley Lunetta

Larry Austin and Stanley Lunetta—composer/performers

Jan Williams, guide
Jon Hassell, Joseph Romanowski, audio technicians

Charles Haupt, visual technician

Edward Burnham, Robert Cram, Jonathan Marcus, Sharon Lunetta,
Practitioners

During Intermission:
On Display: Map, a lobby piece by Jon Hassell

Piano Pieces 1, 2, 3, 4 (1968)....................................... Julius Eastman
MR. Eastman

Traces (1968).......................................................................... Roger Reynolds
Yuji Takahashi and Miss Verberne, MR. Cram

The Tarot (1965)................................................................ Morton Subotnick

Messrs. Cram, Singer, Hassell, Kasprowicz, Levine, Coleman,

Burnham, Lunetta, Williams, Takahashi
Conducted by the composer

All the works on this evening’s program are being performed in Buffalo for the first time.

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                    <text>-2-

is moved over the surface by hand. The "code” of magnetic recording allows
the speed and motion of this "reading" to alter the sound in a way impossible
in its uncoded form. The discovery of new continents and seas, peaks and
valleys of amplitude, etc. is open to each participant.
Instructions:
1)

The faster you move the reading head, the higher the pitch of what
you hear.

2)

The more constantly you maintain a given speed, the closer you will
come to hearing the sound as it was recorded.

3)

The further you depart from the rule, "line of head-gap perpendicu
lar to line of tape," the less sound you will hear—stopping altogether
at around 45 degrees

No recommendations to do one rather than the other implied__ J.H.

Piano Pieces 1, 2, 3, 4 (1968)..................... Julius Eastman
Buffalo-based composer, Julius Eastman, holds a diploma in composition
from the Curtis Institute of Music. Among his compositions are two ballets,
songs, orchestral and piano works. "Star Jazzer," a ballet, will be performed
on tour by the Buffalo University Dance Workshop.

Traces (1968) for piano, flute, cello, signal generator,
ring modulator, and 6 channels of taped sound...Roger Reynolds
Traces is concerned not only with events, but with their residue. The
pianist makes a series of nine statements in the form of three interrelated
groups of three short pieces. The flute and cello draw on materials in
these pieces, extending them (without recourse to development or elaboration).
In the second and third groups, long taped sounds overlap the pianist’s
events, as well as flute and cello traces, suggesting the coexistence of
several time frames and the resonances of memory.
Live amplification and electronically modulated sounds are distributed
through the performance space by means of six speakers that also serve to
handle the six independent channels of prepared sound on tape.

The piece is of variable length and is dedicated to the composer and
pianist, Yuji Takahashi. --r.r.

The Tarot (1965)....................................... Morton Subotnick
The piece is based on four Tarot cards—they are the Stars, the Moon,
the Sun, the Judgment. The conducting part characterizes the symbolic content
of the four cards. The groups of instruments represent the formal structure
of the Tarot cards in general. The brass group with the metal percussion
represents the first card of each group of four. The group associated with the
skin percussion represents the second. The group associated with the xylophone
represents the third and the piano represents the fourth which is traditionally
the transitional number. --M.S.

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                    <text>Courier Express

[December 15, 1968]

Music Calendar

UB’s Performing Arts Center
Plans ‘Evening for New Music’
The University of Buf
falo's Center of the Creative
and Performing Arts, directed
by Lukas Foss and Lejaren
Hiller, will present “Evening
for New Music’’ at 8:30 P.M.
today in the Albright-Knox Art
Gallery Auditorium. Admission
is free.
The program will have Bruno
Bartolozzi's “Concertazioni per
Oboe" (1965). written for Law
rence Singer, Center oboist;
Stanley Lunetta’s theater piece,
“Spider Song” (1968); Julius
Eastman’s Plano Piece (1968);
Roger Reynold's "Traces”
(1968); written for Yuji Taka
hashi, Center pianist; and Mor
ton Subotnick’s “The Tarot”
(1965), which will be conducted
by the composer. Also. Jon
Hassell's “Lobby Piece, Map”
will be on display.
The New Age Brass Quin
tet and the University Chamber
Choir, directed by Peter Van
Dyck, will present music by
Scheidt, Gastoldi, Giovanni Ga
brieli, Palestrina and Pinkham
in a concert at 4 P.M. today in
the Sculpture Court of the
Albright-Knox Art Gallery. The
program is sponsored by the
Office of Cultural Affairs’ and
the music department of the
University of Buffalo. Admis
sion is free.

Robert Mols will conduct
the Cheektowaga Community
Symphony Orchestra in a con
cert at 3 P.M. today in the John
F. Kennedy Senior High School
Auditorium, Cheektowaga. Guest
artists are the Maryvale High
School Chorale, directed by
Joseph Stewart. The program
will have music by RimskyKorsakov, Weber, Handel,
Irving Fine and Joseph Stewart.
Admission is free.
The Rosary Hill College
Glee Club, directed by the Rever nd
Michael Palotai, will present a
Christmas concert at 8:30 P.M.
today in the Wick Center, on
campus. Suzanne Thomas will
be harpist in Britten’s “Cere
mony of Carols." Admission is
free.

The Canisius College
Glee Club, directed by Robert

Schulz, will present a Christ
mas concert at 8 P.M. today
in the Student Center Auditori
um, on campus. The college
ROTC Band will also perform
Admission is free.

The Music Department
of Holland Central School will
present a Christmas concert at
8:15 P.M. Wednesday in the Hol
land Central School Auditorium.
Merritt Wheeler will direct the
chorus, and Ray Burbick will
direct the band. The public is
Invited.

The Concert, Marching
and Symphony bands of the
University of Buffalo will pre
sent a concert at 8:30 P.M.
today in Goodyear Hall, on cam
pus. The program, directed by
Michael D. Sandgarte and W.
Larry Brentzel, will have music
by Clifton Williams, Persichet
ti, Gordan Jacob, Hanson and
Kalinnikov, and highlights from
the 1968 football season. Admis
sion is free.

Joyce Gianni will give a
senior piano recital at 8:30 P.M.
Friday in Baird Hall, Univer
sity of Buffalo.

The Music departments of
Kenmore East High School and
Sweet Home will present Han
del’s "Messiah” at 2:30 P.M.
today at Sweet Home High
School, and at 8 P.M. Wednes
day at Kenmore East High
School. Louis Baroudi, of Ken
more East, will conduct. Ad
mission to both performances
is free.

Frederick Burgo master
will give an organ recital at
12:30 P.M. Friday in Saint
Paul's Cathedral. He will play
Monnikendam’s "Intrada;”
Buxtehude's “In dulci jubilo;”
Brahm's “Es ist ein Ros’”; Da
quin’s “Swiss Noel”; and Mes
siaen’s "The Shepherds” and
“God among us” from “The
Birth of Our Lord.” The public
Is invited.

The Zion Lutheran
Church choirs, directed by Karl
A. Hartwig, Will present a
Christmas concert at 7:30 P.M.
today in the church in Clarence
Center. The program will in
clude cantatas by Michael Al
tenburg and Heinz Wunderlich.

Lukas Foss will conduct the
Buffalo Philharmonic Orchestra
in performances of Handel’s
“Messiah” at 8:30 P.M. Satur
day and 2:30 P.M. next Sunday
in Kleinhans Music Hall. Solo
ists are Anne Elgar, Betty Allen,
Raymond Michalski and Joseph
Sopher.

The Hartwell String Quar
tet will present concerts at 8:30
P.M. today in the Newman Ora
tory, on the campus of Brock
port State College, and 8:30
P.M. Tuesday at the Nazareth
Arts Center. The program will
include Bartok’s String Quartet
No. 2 and Debussy’s Quartet.
The quartet, in its third year
in residence at the college, is
comprised of Norma Auzin, Lor
ene Field, Ascher Temkin and
Ronald Leonard.

The Stanley King Trio
will present a concert at 7
Wednesday evening for the pa
tients and visitors at the Carlton
House Nursing Home.

A Festival of Christmas
carols, coordinated by Robert
Schulz, will be presented from
4:30-5:30 P.M. and 8:30-9:30 P.M.
Monday through Saturday at the
Main Place Mall. The festival
is sponsored by Liberty Bank of
Buffalo.

Pamela Gearhart will
conduct the University of Buf
falo Orchestra in a concert at
8:30 P.M. Thursday in Baird
Hall, on campus.

A Christmas concert will be
presented by the music depart
ment of Buffalo State College at
8:15 this evening in Rockwell
Hall Auditorium, on campus.
Silas Boyd will direct the Men’s
Glee Club and the A Capella
Choir, and Olaf Malmin will di
rect the Women's Glee Club.
The public is Invited.

Diocesan Preparatory Sem
inary Glee Club will present a
choral vesper service at 4 this
afternoon in the chapel at 564
Dodge. The program is open
to the public.

�</text>
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                    <text>Buffalo Evening News

[December 14, 1968]

Musical Fantasies
In Gallery Tomorrow
New Music concert by the
UB Creative Associates
will include a staged tribute to
a comics book hero, other farout visions and a visual crea
tion in the lobby by composer
Jon Hassell titled “Lobby
Piece,” tomorrow evening at
8:30 in Albright-Knox Art
Gallery auditorium. The public
is welcomed.
“Spider Song” by composer
Stanley Lunetta is his staged
ode to Spider Man. “Con
certazioni” by Bartolozzi will
be played by oboist Lawrence
Singer. “Piano Piece” by Buf
falo-based Julius Eastman,
“Traces” by Roger Reynolds
and “The Tarot” by Morton
Subotnick will be included.
* * *
Britten’s Biblical music
parable, “The Burning Fiery
Furnace,” will be given its sec
ond staged performance un
der Timothy Vernon, this
evening at 8:30 in SR. John’s
Episcopal Church, Colonial
Circle.
* * *
UB Chamber Choir and
New Age Brass Quintet will
present a Christmas program
tomorrow at 4 PM in AlbrightKnox Art Gallery Sculpture
Court, Peter Van Dyck choral
director. Sacred works of
Scheldt,
Gastodi, Gabrieli,
Palestrina and the Pinkham
“Christmas Cantata” will be
performed. The public is
welcomed.
* * *
Handel “Messiah” in the
annual Philharmonic presen
tation with touring soloists and
the Buffalo Schola Cantorum
and UB Chorus will be con
ducted by Lukas Foss, next
Saturday at 8:30 PM and the
following Sunday at 2:30 PM in

Kleinhans Music Hall, auspices
of The Buffalo Evening News
and WBEN.
The soloists are soprano An
ne Elgar, leading performer of
the New York City Opera, a
star of festivals in principal
music centers; tenor Joseph
Sopher, warmly received in
Town Hall and Carnegie Hall
appearances, performer with
major opera companies; mezzo
soprano Betty Allen, a- great
Buffalo favorite over many
seasons and one of the most
esteemed singers in concert
billing, and bass baritone Ray
Anne Elgar
mond Michalski, an established
artist in concerts, opera and “Messiah” Soprano Next Week
recordings.
The choruses are prepared
by their director, Peter Van
Dyck. Tickets are available in
the Philharmonic box office,
music hall, and Denton, Cottier
&amp; Daniels, except Wednesday.
* * *
UB Bands under Michael
Sandgarten, W. Larry Brentzel
and Milton Shetler will present
a concert tomorrow at 8:30 PM
in Goodyear Hall on the cam
pus, admission free. Concert
Band, Marching Band and
Symphony Band will be
featured in classic and roman
tic works and Broadway
musical settings.
* * *
Rosary Hill annual
Christmas Concert by the Col
lege Glee Club directed by the
Rev. Michael Palotai, SP, will
be given tomorrow at 8:30 PM
in Wick Campus Center.
Philharmonic harpist Suzanne
Thomas will be guest artist in
the Britten “Ceremony of
Carols.” Nancy Townsend is
accompanist. The concert is
open to the public.
* * *
Canisius College Glee Club
directed by Robert F. Schulz
will
present
the
annual
Christmas Concert tomorrow
at 8 PM in the Student Center,
with the ROTC Band co
featured.
The
public
is
welcomed.
* * *
Cheektowaga
Com
munity Symphony Orchestra
under Robert W. Mols and the
Maryvale High School Chorale
directed by Joseph Stuart will
present a series concert
tomorrow at 3 PM in J. F.
Kennedy High School, ad
mission free. Works of RimskyKorsakov, Weber, Handel, Fine
and Stewart will be performed.

Zion Lutheran Church of
Clarence
will
present
a
Christmas Advent Concert
tomorrow at 7:30 PM, with MR.
and MRS. Karl Hartwig as con
ductor and accompanist. Can
tatas of Altenburg and Wun
derlich will be performed.
* * *

Christmas
concert by
Buffalo State College groups
will be given tomorrow at 8:15
in Rockwell Hall, open to the
public. The Men’s Glee Club
and A Cappella Choir under
DR. Silas L. Boyd, Women’s
Glee Club directed by Prof.
Olaf G. Malmin, the Male
Quartet and Women’s Quartet
with Prof. Paul R. Homer as
accompanist will perform.
* * *
Baird Chamber Players,
enterprising group of advanced
students entering the chamber­
music lists, will present a
recital Monday evening at 8:30
in Baird Hall, admission free.
The works:
“Tranquille” by Milhaud,
woodwinds and piano; “The
Ragwort” and “The Dan
delion” by Bliss, soprano
Susan Jaeger, clarinet and
piano; Bach Flute Sonata in E
Flat by Nora Nausbaum and
harpsichordist Joseph Kubera;
Mendelssohn String Quartet in
E Flat, first movement, and
woodwind quintet works of
Schuller and Persichetti.
**
Young Dancers of the
Community
Ballet
School,
Sonia Tuttle director, will
present the “Mother Goose
Suite” Tuesday at 2:30 PM in
School 44 auditorium, auspices
of the PTA.
* *
East High Chorus and
the Buffalo Philharmonic
Orchestra will be conducted by
Donald L. Hilliard, the school
music director, in the Handel
“Messiah” on Wednesday at 9
AM in the high school
auditorium.
**
UB
Orchestra under
Pamela Gearhart will present
“Christmas
Greetings,”
a
variety of works including the
favorite Prokofiev “Peter in
the Wolf” with narrator
Laurence Bogue, Thursday at
8:30 PM in Baird Hall, ad
mission free. Works of Handel,
Ravel, Borodin and Chabrier
will be included.
* *
Senior Recital will be
given by pianist Joyce Gianni,
Friday at 8:30 PM in Baird
Hall, open to the public,
sonatas of Scarlatti, Mozart,
works of Chopin, Debussy,
Mendelssohn.

�</text>
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