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!!!Performances {br}{br} {html} <hr style="width:50%"> {/html} '''05/01/1960 : University of California, Berkeley'''{br} ''"Poem for Tables, Chairs and Benches" by the 24-year-old Idaho-born experimentalist La Monte Young, a visual and aural action in which furniture is moved, audibly by dragging or pushing on the floor, or inaudibly by lifting, with pre-programmed parameters indicating the timing of entrances and exits of the furniture movers and duration of each manipulation of a specific piece of furniture, is performed for the first time as part of the series of experimental music, at the University of California, Berkeley''.{br}{small}— Source : Year 1960 in "Music since 1900", ed. by Laura Kuhn and Nicholas Slonimsky, 6th Edition, Schirmer Books (publisher); New York, 2001{/small} {footnote}{small}http://0-muco.alexanderstreet.com.libra.naz.edu/View/342196 {/small}{/footnote} {br}{br} {html} <hr style="width:50%"> {/html} '''11/04/1960 : NYC'''{br} April 11, 1960. New York, Living Theatre (530 Sixth Avenue). David Tudor performed with Toshi Ichiyanagi: Cornelius Cardew, ''Two Books of Study for Pianists''; Christian Wolff, ''Duo for Pianists II''; Toshi Ichiyanagi, ''Music for Piano No. 2'' (first performance); La Monte Young, ''Poem for Chairs, Tables, Benches, etc. (or Other Sound Sources)'' (the latter composition with the assistance of John Cage, Merce Cunningham, and James Spicer); all compositions performed twice.{footnote}{small}http://cagecomp.home.xs4all.nl/1912-1971.htm — http://faculty.ucr.edu/~ewkotz/texts/kotz-2001-Tudor.pdf {/small}{/footnote} ''Dans un concert à New York le 11 avril 1960, Roger Reynolds, un compositeur affilié au festival ONCE, assista à une performance de La Monte Young "Poem for Chairs, Tables, Benches, Etc." Les participants, dont faisait partie John Cage, traînaient sur le sol en carrelage du mobilier dont les pieds étaient métalliques. "J'étais fasciné et abasourdi", commenta Reynolds.''{br}{small}— (Leta E. Miller, "ONCE and Again: The Evolution of a Legendary Festival"){/small}{footnote}{small}http://www.newworldrecords.org/linernotes/80567.pdf {/small}{/footnote} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}"At a New York concert on April 11, 1960, ^[Roger^] Reynolds, ^[a composer affiliated to the ONCE festival^], watched a performance of La Monte Young’s "Poem for Chairs, Tables, Benches, Etc." The participants, including Cage, pushed metal-footed furniture around a tile floor. “I was fascinated and dumbfounded,” says Reynolds"{br}— (Leta E. Miller, "ONCE and Again: The Evolution of a Legendary Festival"){/small}{footnote}{small}http://www.newworldrecords.org/linernotes/80567.pdf {/small}{/footnote}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1960_aprillivingtheatre.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}In "Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers University, 1958-1972", Geoffrey Hendricks, Mason Gross Art Galleries, Rutgers University and Mead Art Museum, Amherst College, New Brunswick, N.J.: Rutgers University Press, 2003{/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1960_aprillivingtheatre2.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}In "CageTalk. Dialogues with and about John Cage". — Part II - Colleagues & Criticism ; 12. La Monte Young, Interview with Peter Dickinson, New York City, July 2, 1987 — Edited by Peter Dickinson. University of Rochester Press, 2006, p. 152{/cap}{/small}\| {br}{br} {html} <hr style="width:50%"> {/html} '''fin / Fall 1960 : NYC'''{br} ''À la fin de 1960, j'ai donné la "Conférence 1960" simultanément avec l'enregistrement de "Poem for Chairs, Tables and Benches, etc." par Robert Dunn, en utilisant le son du piano de "'''[Vision\|DOCLMYworks#Vision__1959_]'''" comme source sonore, lors d'un atelier du New School for Social Research Seminar in Electronic Music de Richard Maxfield, au 340 West 88th Street à Manhattan.''{br}{small}— (La Monte Young, 1994 ; in "Happening and Other Acts", Ed. by Mariellen R. Sandford, Routledge, 1995){/small}{footnote}{small}http://emc.elte.hu/seregit/Happenings.pdf {/small}{/footnote} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}"In the fall of 1960, I delivered "Lecture 1960" simultaneously with Robert Dunn’s tape realization of my 'Poem for Chairs, Tables and Benches, etc.' utilizing The Piano Sound from "'''[Vision\|DOCLMYworks#Vision__1959_]'''" as the sound source, at one of Richard Maxfield’s 340 West 88th Street, Manhattan, studio sessions of his New School for Social Research Seminar in Electronic Music.'' — (La Monte Young, 1994 ; in "Happening and Other Acts", Ed. by Mariellen R. Sandford, Routledge, 1995){/small}{footnote}{small}http://emc.elte.hu/seregit/Happenings.pdf {/small}{/footnote}\| {br}{br} {html} <hr style="width:50%"> {/html} '''20/09/ 1960 : "Musica d’Oggi", Academia di Bella Arti, Venise'''{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1960_venise.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}In "CageTalk. Dialogues with and about John Cage". — Part II - Colleagues & Criticism ; 11. Kurt Schwertsik, Interview with Peter Dickinson, BBC London, June 2, 1987 — Edited by Peter Dickinson. University of Rochester Press, 2006, p. 150{/cap}{/small}\| {br}{br} {html} <hr style="width:50%"> {/html} '''06/10/ 1960 : Atelier Mary Bauermeister, Cologne'''{br} October 6, 1960. Cologne, concert "Kompositionen", Atelier Mary Bauermeister (who will become Stockhausen's wife). Performed "Solo for Voice 2" with "Cartridge Music", performed by Cornelius Cardew, Hans G Helms, Mauricio Kagel, William Pearson, Nam June Paik, Benjamin Patterson, Kurt Schwertsik, David Tudor and Christian Wolff; Tudor performed "Music for Amplified Toy Pianos"; Nam June Paik performed "Etude for Piano Forte" (involving cutting Cage’s necktie and shampooing him without advance warning); performance of La Monte Young, "Poem"; Karlheinz Stockhausen in attendance ''(Block, R. 1980, 121; Cage 1981i, ^[8^]; Cage 1993d, 154-155; Cage/Raymond and Roberts 1980, 6; Dunn 1962, 34, 38; Gardner 1982; Herzogenrath 1976, 18; Thorausch 1993; Zahn 1993; Vinton 1974, 551)''. {footnote}{small}http://cagecomp.home.xs4all.nl/1912-1971.htm — http://cagecomp.home.xs4all.nl/ (biblio) {/small}{/footnote} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1960_bauermeister.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}Letter David Tudor to John Cage, typewritten, In "John Cage and David Tudor: Correspondence on Interpretation and Performance", Martin Iddon, Cambridge University Press, 2013, pp. 113-114{/cap}{/small}{br}{br}{br}{br}{br}{br}{br}{br}{br}{small}{cap}^[POUR JOUER POEM, NOUS AVIONS^] un tabouret de piano, une brosse dure utilisée sur le mur, un morceau de pneu en caoutchouc joué sur du verre mouillé, un morceau de bois se trouvait dans le couloir, et une chaise en bois à l'étage.{/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1960_bauermeister_poem.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}Programme "Kompositionen", Oct. 6, 1960{/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1960_bauermeister_concert.jpg\|../files/articles/lamonteyoung/1960_bauermeister_concertb.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}Concert "Kompositionen", Oct. 6, 1960{br}Atelier Mary Bauermeister — Performers (left to right): David Tudor, Cornelius Cardew, Ben Patterson, Christian Wolff, John Cage, David Behrman (Sylvano Bussotti sitting in front of Christian Wolff){/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1960_bauermeister_cage.jpg\|../files/articles/lamonteyoung/1960_bauermeister_cageb.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}Concert "Kompositionen", Oct. 6, 1960{br}Nam June Paik, John Cage, David Tudor, after the concert.{/cap}{/small}\| {br}{br} {html} <hr style="width:50%"> {/html} '''07/11/ 1960 : Wesleyan University, ’92 Theater'''{br} November 7, 1960. Middletown, Connecticut, Wesleyan University, ’92 Theater. (John Cage) Taught freshmen class on experimental music using La Monte Young, Poem for Chairs, Tables, Benches, and Other Sound Sources, etc. ''(Ahles 1960; Mani 1960; Sommer, J.G. 1960)''.{footnote}{small}http://cagecomp.home.xs4all.nl/1912-1971.htm — Ahles, Richard F. 1960. “Cage Cages Audience with Cagey Audiometrics.” Hartford Courant ^[Hartford, Connecticut^] (November 8), 6. — Mani 1960. ^[Untitled^] ^[photograph with text^]. Wesleyan Argus 94, no. 16 (November 18), 3. — Sommer, John G. 1960. “Frosh Find ‘Art’ in Cacophony.” Wesleyan Argus (November 11), 1, 4. — {/small}{/footnote} {br}{br} {html} <hr style="width:50%"> {/html} '''05/03/1962 : Living Theatre, NYC'''{br}"Three Seascapes", chorégraphie par Yvonne Rainer, w/ "Poem for Chairs, Tables, Benches, Etc." de La Monte Young{br}{small} — Source : http://pastelegram.org/features/282/event/204 {/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_threeseascapes.jpg\|../files/articles/lamonteyoung/1962_threeseascapesb.jpg]\|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1962_threeseascapes2.jpg\|../files/articles/lamonteyoung/1962_threeseascapes2b.jpg]\| {br}{br} {html} <hr style="width:50%"> {/html} '''01/05/1962 : Au Living Theatre, NYC, The Living Theatre'''{br}Programme avec Philip Corner, Dick Higgins, Alison Knowles, Carolee Schneemann, La Monte Young et neuf personnes.{br}Programme :{br}- Philip Corner, "2nd Finale". {br}- Dick Higgins, "Two Generous Women", "Graphis 24 & 82".{br}- Carolee Schneemann, "Environnment".{br}- La Monte Young, "Poem For Chairs, Tables, Benches, etc."{br}- P. Krumm, "Lecture".{footnote}{small}http://www.artperformance.org/article-22042387.html {/small}{/footnote} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1962_living_poem.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}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1962_LivingTh_Poem_1962.jpg]\|t {small}IN "DEMOCRACY'S BODY : JUDSON DANCE THEATER, 1962-1964" BY SALLY BANES{/small}\| {br}{br} {html} <hr style="width:50%"> {/html} '''09/1962 : Wiesbaden Fluxus Festival, Hörsaal des Städtischen Museums, "Fluxus Internationale Festspiele Neuster Musik"''' \|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} '''29/01/1963 : Judson Concert ^#3'''{br}"Three Seascapes", chorégraphie par Yvonne Rainer, Judson Concert ^#3, 29 janvier 1963, était accompagnée par le "Poem for Chairs, Tables, Benches, Etc." de La Monte Young — \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl ''^[Dans "Three Seascapes" (1962), Yvonne Rainer avançait ^] une fois sur la scène, comme une personne spasmodique ou épileptique au ralenti, à l'accompagnement d'un certain nombre de tables et de chaises qui gémissait en étant traîné sur le sol du hall.''{br}{small}— (Jill Johnston, In "Judson 1964 : End of an Era : 1", In Village Voice, January 1965, p.12 ; cité par Sally Banes, In "Democracy's Body: Judson Dance Theater, 1962-1964", p. 91, UMI Research Press, 1980){/small}{br}{br}{small}"^[In "Three Seascapes" (1962), Yvonne^] Rainer progresses, once across the stage, like a slow motion spastic, if you can believe it, to the accompaniment of a number of tables and chairs moaning, scraping across the floor in the lobby." — (Jill Johnston, In "Judson 1964 : End of an Era : 1", In Village Voice, January 1965, p.12 ; quotation by Sally Banes, In "Democracy's Body: Judson Dance Theater, 1962-1964", p. 91, UMI Research Press, 1980){/small}\| {br}{br} {html} <hr style="width:50%"> {/html} '''30/10/1963'''{br}ART DU LANGAGE — Sept compositions Simultanées :{br} B. Patterson (paper piece), A. Hansen (?), T. Riley (Ear Piece), L.M. Young (Poem for tables, benches, chairs), A. Knowles (Shuffling piece), S. Morris (introductions for dance), G. Brecht (word event) — ''(non-référencé)'', {footnote}{small}http://www.strano.net/town/music/fluxus.htm — http://www.edueda.net/index.php?title=Chiari_Giuseppe — http://www.armandagoriarte.com/new/artisti/chiari_g.htm {/small}{/footnote} {br}{br} {br}{br} {br}{br} {br}{br} ---- ----
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