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!!!Performances {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/05/14 ''' — '' May 14, 1961. New York, "Carnegie Recital Hall". Toshi Ichiyanagi performed "Winter Music"; Christian Wolff, "For Prepared Piano"; La Monte Young, "566 to Henry Flynt"; Earle Brown, "from Folio"; Toshi Ichiyanagi, "Music for Piano #4" and "Music for Piano # 6"; Stefan Wolpe, "Form"; music by Richard Maxfield; Feldman, "Piano Piece 1952".'' — {small}http://cagecomp.home.xs4all.nl/1912-1971.htm {/small} |t |t |t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1961_toshi_1.jpg|../files/articles/lamonteyoung/1961_toshi_1.jpg] |t |t |t |t |t |t {small}{cap}Letter John Cage to David Tudor, typewritten, May 31, 1961, In "John Cage and David Tudor: Correspondence on Interpretation and Performance", Martin Iddon, Cambridge University Press, 2013{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/06/04 ''' — '' " Chambers Street series ", Carnegie Hall, New York. La Monte Young’s "556 for Henry Flynt" performed with Toshi Ichiyanagi.''| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/06/16 ''' — '' Prior to June 16, 1961. Paris, "Club d’Essai de la R.T.F" (Radio Télévision Française). David Tudor performed La Monte Young, "343 for Henry Flynt"; Toshi Ichiyanagi, "Music for Piano No. 4", and unknown compositions by Cage (Samuel, Claude, 1961. “Hellzapoppin du piano.” Paris-Presse (June 16).).'' — {small}http://cagecomp.home.xs4all.nl/1912-1971.htm {/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/07''' — ''"?", Paris? . La Monte Young’s "1698 for Henry Flynt" performed with Cornelius Cardew.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t {small}(Branden W. Joseph, "Andy Warhol's Sleep : The Play of Repetition", In "Masterpieces of Modernist Cinema", edited by Ted Perry, Indiana UNiversity Press, 2006, p. 194){/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/?''' — ''"?", London. La Monte Young’s "42 for Henry Flynt" performed with Cornelius Cardew.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t {small}Cornelius Cardew performed Lamonte Young’s "42 for Henry Flynt" and Susan Bradshaw interrupted the performance by dragging him away from the piano. — (unknown reference){/small}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t {small}At a concert in London, Cornelius Cardew gave what was probably the British premiere of a "work" by the American composer LaMonte Young, called 42 for Henry Flynt. In this piece a single sound is repeated. The title varies according to the number of repetitions. Cardew, playing the piano, perpetrated a version called 292 for Henry Flynt, where the chosen sound was created by crashing the whole forearm down on the keyboard. As the crashes continued relentlessly, a slight female figure (Susan Bradshaw) in the front row could bear it no longer. To the applause of the audience, she sprang on to the platform and physically dragged her old fellow student away from the instrument. — (Gerard McBurney, "Susan Bradshaw, Pianist, champion of modern music and 'conscience of composers'", In The Independant, Tuesday 01 February 2005 — http://www.independent.co.uk/news/obituaries/susan-bradshaw-6153451.html {/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1961/09/06 ''' — '' "Darmstadt". David Tudor performed La Monte Young, "566 for Henry Flynt"''{br}{small}http://music.ucsc.edu/sites/default/files/TudorInDarmstadt.pdf {/small}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t {small}"For Young’s piece "For Henry Flynt" (1960), Tudor sat cross-legged on the floor and hit a gong 566 times with a stick at the rate of about one per second. This action allegedly drove someone to call an ambulance. An emergency squad came, observed the bizarre performance situation, and departed, understandably bewildered. According to an eyewitness, Tudor just kept playing." — (Dieter Schnebel, interview, 4 February 1998, by Amy C. Beal, "Tudor in Darmstadt", In Contemporary Music Review, 26 : 1, 77-88, 2007){/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/02/07''' — ''"University of Colorado", Boulder, Colorado. La Monte Young’s "556 for Henry Flynt" performed with David Tudor.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t February 7-8, 1962. Boulder, Colorado, University of Colorado. Performed with David Tudor: five compositions, among which Cartridge Music and presumably La Monte Young, "^[Integer to Henry Flynt^] (February 7, UMC Forum Room); "Where Are We Going? And What Are We Doing?" (Cage, with tapes, February 8, presumably canceled); Tudor performed "Variations II" (piano with electronics); Bo Nilsson, "Bewegungen, Schlagfiguren, and Quantitäten"; Hans Otte, "Tropismen" (February 8, morning, College of Music) ''(Colorado Daily 1962; Dunn 1962, 29, 34, 43; Page, A. 1962)''.{br}{small}http://cagecomp.home.xs4all.nl/1912-1971.htm {/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/02/09''' — ''"ONCE Festival", Ann Arbor, Michigan. La Monte Young’s "923 for Henry Flynt" performed with La Monte Young.''{br}{small}http://ronsen.org/monkminkpinkpunk/17/krumm.html {/small}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1962_flynt_oncep.jpg|../files/articles/lamonteyoung/1962_flynt_once.jpg] |t |t |t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1962_flynt_once2.jpg] |t |t |t |t |t |t {small}Source : {/small}{br}{small}{cap}George Maciunas, "Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms", (Incomplete), annotated by Alison Knowles, 1973 (The Gilbert and Lila Silverman Fluxus Collection Archives in The Museum of Modern Art Archives) — [more info George Maciunas|DOCLMYmaciunas]{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/06/16''' — ''"Neo-Dada in der Musik", a program for a musical performance at Kammerspiele, Düsseldorf, June 16, 1962, organized by Jean-Pierre Wilhelm. La Monte Young’s "556 for Henry Flynt" performed with J. G. Fritsch and others.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |tl [../files/articles/lamonteyoung/1962_flynt_neodada_1p.jpg|../files/articles/lamonteyoung/1962_flynt_neodada_1.jpg] [../files/articles/lamonteyoung/1962_flynt_neodada_2p.jpg|../files/articles/lamonteyoung/1962_flynt_neodada_2.jpg] [../files/articles/lamonteyoung/1962_flynt_neodada_3p.jpg|../files/articles/lamonteyoung/1962_flynt_neodada_3.jpg]| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/09/01''' — ''Wiesbaden, Hörsaal des Städtischen Museums, "Fluxus Internationale Festspiele Neuster Musik", Sept. 1 : La Monte Young’s "556 for Henry Flynt" performed with J. G. Fritsch and others.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1962_wiesbaden.jpg] |t |t |t |t |t |t {small}Source : {/small}{br}{small}{cap}George Maciunas, "Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms", (Incomplete), annotated by Alison Knowles, 1973 (The Gilbert and Lila Silverman Fluxus Collection Archives in The Museum of Modern Art Archives) — [more info George Maciunas|DOCLMYmaciunas]{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/11/28''' — ''Nicolai Kirke Copenhagen, "FESTUM FLUXORUM", La Monte Young’s "556 for Henry Flynt" performed with ?.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |tl [../files/articles/lamonteyoung/1962_fluxorum_0ap.jpg|../files/articles/lamonteyoung/1962_fluxorum_0a.jpg] [../files/articles/lamonteyoung/1962_fluxorum_0bp.jpg|../files/articles/lamonteyoung/1962_fluxorum_0b.jpg] [../files/articles/lamonteyoung/1962_fluxorum_0cp.jpg|http://artsconnected.org/resource/85096/program-festum-fluxorum]| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1962_fluxorum_3.jpg] |t |t |t |t |t |t {small}Source : {/small}{br}{small}{cap}George Maciunas, "Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms", (Incomplete), annotated by Alison Knowles, 1973 (The Gilbert and Lila Silverman Fluxus Collection Archives in The Museum of Modern Art Archives) — [more info George Maciunas|DOCLMYmaciunas]{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1962/12/07''' — ''American Center Paris, "FESTUM FLUXORUM. FLUXUS. Poésie, Musique et Antimusique Événementielle et Concrète", La Monte Young’s "556 for Henry Flynt" performed with ?.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |tl [../files/articles/lamonteyoung/1962_fluxorum_1p.jpg|../files/articles/lamonteyoung/1962_fluxorum_1.jpg]| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1963/05/11 & 12''' — ''"Yam Festival", at the Hardware Poet's Playhouse, 115 West 54th Street, New York''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1963_yam_playhouse.jpg|../files/articles/lamonteyoung/1963_yam_playhouseb.jpg] |t |t |t |t |t |t {small}Endless and continuous program of performance beginning about noon on Saturday through evening and Sunday{/small}{br}{br} {small}Source : {/small}{br}{small}Walker Art Center Collection, — http://www.walkerart.org/collections/artworks/yam-festival-calendar {br}— http://www.walkerart.org/collections?order=asc&order_by=Date+Acquired&type=Other+%2F+Miscellaneous {br}{/small}{br}{br}{small}{cap}— '''^[[more info Yam Festival (Tree by Allan Kaprow featuring La Monte Young, May 19 1963)|DOCLMYyam]^]'''{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1964/07/06''' — ''"Flux Concert — a little festival of new music, Univ. of London, Goldsmiths College". La Monte Young’s "? for Henry Flynt" performed with John Cale.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t {small}It is well known that Cale studied music at Goldsmiths in the early 1960s before heading to New York and forming the Velvet Underground. According to his autobiography, he was voted ‘most hateful student’ by college heads of department and caused a minor scandal at an end of year concert in 1963 by playing avant-garde pieces of music such as La Monte Young’s ‘X for Henry Flint’ accompanied by the radical composer Cornelius Cardew and a rowdy audience. — (unknown reference){/small}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/lamonteyoung/1964_flynt_goldsmith.jpg] |t |t |t |t |t |t {small}Source : {/small}{br}{small}{cap}George Maciunas, "Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms", (Incomplete), annotated by Alison Knowles, 1973 (The Gilbert and Lila Silverman Fluxus Collection Archives in The Museum of Modern Art Archives) — [more info George Maciunas|DOCLMYmaciunas]{/cap}{/small}| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1963/02/03''' — ''Staatlichen Kunstakademie Düsseldorf, "FESTUM FLUXORUM. FLUXUS. Musik und Antimusik. Das Instrumentale Theater", La Monte Young’s "556 for Henry Flynt" performed with Dick Higgins.''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |tl [../files/articles/lamonteyoung/1962_fluxorum_2p.jpg|../files/articles/lamonteyoung/1962_fluxorum_2.jpg] [../files/articles/lamonteyoung/1962_fluxorum_2bp.jpg|../files/articles/lamonteyoung/1962_fluxorum_2b.jpg]| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1964''' — ''Tokyo, Sogetsu Kaikan Hall, Nam June Paik: Composition, May 29. Prelude in e flat major, Hommage á John Cage: Musik für Tonbänder und Klavier; Étude for Pianoforte; Simple; La Monte Young’s "566 for Henry Flynt" performed with Genpei Akasegawa, Anthony Cox, Jet Curtis, Tatsumi Hijikata, Toshi Ichiyanagi, Tatus Izumi, Tomoemon Kazekura, Takehisa Kosugi, Natsuyuki Nakanishi, Yoko Ono, Chieko Shipmi, Jiro Takamatsu, Myorin Takeda, and Yasuhisa Tone.''| {br}{br} {html} <hr style="width:50%"> {/html} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — '''1965''' — ''Third Annual Festival of the Avant Garde in San Francisco; La Monte Young’s "42 for Henry Flynt" performed by Peter Winkler (gong) .''{br}{small}http://archive.org/details/42forHenryFlynt — http://o-art.org/history/50s%26_60s/TapeCenter/_60sAvant.html {/small}| {br}{br} {br}{br} {br}{br} {br}{br} ---- ----
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