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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 — '''1961/01/13 ''' — {small}the Cooper Union for the Advancement of Science and Art, NYC{/small}{br}{br}{small}An evening of electronic opera and other musical essays in time, space, and sound, is produced by David Johnson. At the Cooper Union for the Advancement of Science and Art in New York in a program opening with "Cough Music" (a recorded montage of actual coughs nervously emitted by the audience during a New York ballet recital, electronically altered and rhythmically rearranged and magnified); "Two Sound"s (violin scrapings amplified to screeches); "Amazing Grace" (electronically scrambled Negro spirituals) and an opera, "The Peaceable Kingdom" by Dick Higgins, dedicated to the composer's brother Mark "murdered by Lumumba's racists" in the Congo, scored for speaking voices representing tropical animals, accompanied by electronically amplified sounds of three toy pianos. — Source : Year 1961 in "Music since 1900", ed. by Laura Kuhn and Nicholas Slonimsky, 6th Edition, Schirmer Books (publisher); New York, 2001, http://0-muco.alexanderstreet.com.libra.naz.edu/view/342197 {br}{br}Earle Brown archives (Earle Brown Music Foundation) : "Electronic Opera and Other Works concert" at Cooper Union 1961 featuring Dick Higgins, La Monte Young and others : "The Peaceable Kingdom by Dick Higgins; Computer Music, "Stacked Deck" by Dick Higgins and Richard Maxfield, etc. — Source : http://archivetest.earle-brown.org/printed-material-36 — http://archivetest.earle-brown.org/printed-material-16 {/small}{br}{br}{small}Programme : "Grimaces", avec Dick Higgins (Requiem For Wagner, In Memoriam, The Peaceable Kingdom, Stacked Deck, costumes d’Alison Knowles), David Johnson (Oscillobagatelles), G. Matthews, Richard Maxfield (Cough Music, Pastoral Symphony, Amazing Grace), La Monte Young (Two Sounds) — Source : Olivier Lussac, Chronologie Performances 1961, http://www.artperformance.org/article-22018700.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/1961_twosounds_cooper.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){br}{br} — '''^[[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 — '''1961/05/26 & 27 ''' — {small}Loft Concerts, events and music works series at Yoko Ono studio (Chambers Street) — w/ Simone Forti (choregrapher), "Accompaniment for La Monte’s 2 sounds and La Monte’s 2 sounds".{/small}{br}{br}{small}In "Accompaniment for La Monte's "2 sounds" and La Monte's "2 sounds,"" a twelve-minute recording by Minimalist composer La Monte Young plays as a dancer stands in a large loop of rope suspended from the ceiling; a second person turns the dancer around and around until the rope is completely wound up, and then releases. The piece ends when the recording stops. — Source : MOMA, Performance Exhibitions Series, Special Exhibitions Gallery, 2009, http://www.moma.org/visit/calendar/exhibitions/867 {/small}{br}{br}{small}In 1961, well before John Cage selected 2 sounds for Merce Cunningham’s dance “Winterbranch” in 1964, seminal choreographer Simone Forti had created “Accompaniment for La Monte’s 2 sounds and La Monte’s 2 sounds,” which she premiered on the solo concert La Monte had invited her to perform at Yoko Ono’s Chambers Street studio. — Source : http://www.melafoundation.org/LYrecscat.html {br}{br}In the spring of 1961 Simone Forti presented a program titled Five Dance Constructions and Some Other Things in a concert series organized by her friend, composer La Monte Young, at the New York loft studio of Yoko Ono. These radically new dances created circumstances for the performers' direct, non-stylistic actions. Each of the pieces was performed in a different place in the loft, with the audience moving from location to location to view them. Some of the pieces required elementary structures - a hanging rope, rectangular wooden boxes - which were placed throughout the loft like a sculptural installation.{br}This piece is an accompaniment for 2 sounds by La Monte Young, recorded together with Terry Riley in 1960 at the studio of Anna Halprin. 2 sounds consists of two continuous, very loud and complex sounds, one of very low and one of very high frequency, playing simultaneously. The accompaniment requires one rope and one person to ride in the rope. The rope forms a long loop which is fastened to the ceiling and hangs to within a foot of the floor. Ideally, the rope should be discretely positioned in the room, indicating that it is an accompaniment to the principal event, La Monte's music. The piece begins when a person places a foot into the loop of the rope and hoists herself up to stand there, like standing on a low swing. A second person starts the recorded sound, slowly turns the person in the rope round and round and round until the rope is completely wound up, and walks away. The sound fills the space. The rope unwinds, then rewinds on its own momentum, unwinds and rewinds until it becomes still. The unwinding finishes many minutes before the sound is over. The person remains hanging, standing in the loop of the rope and listening to the sound. — DVD release : Simone Forti, "An Evening of Dance Constructions", "Accompaniment for La Monte's 2 sounds and La Monte's 2 sounds". The soundtrack of La Monte Young's 2 Sounds has been re-mastered and the composer's notes accompany the video, http://www.microcinemadvd.co.uk/product/DVD/986/Simone_Forti.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/1961_twosounds_forti_accompanimentp.jpg\|../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment.jpg] \|t \|t \|t \|t \|t \|t {small}Source : {/small}{br}{small}{cap}Simone Forti. Accompaniment for La Monte’s “2 sounds” and La Monte’s “2 sounds.” 1961. Performance at The Museum of Modern Art, 2009. © 2009 Yi-Chun Wu/The Museum of Modern Art{/cap}{/small}{br}{br}[../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment2.jpg] [../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment3.jpg\|../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment3b.jpg] [../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment4.jpg\|../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment4b.jpg] [../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment5.jpg\|../files/articles/lamonteyoung/1961_twosounds_forti_accompaniment5b.jpg]{br}{small}{cap}Simone Forti at The Box, Los Angeles, California, October 20, 2012 - Credits : John Wiese{/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_ono_concerts.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){br}{br} — '''^[[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 — '''1962/03/23''' —{small}"New Dance Works", Maidman Playhouse, New York{/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_twosounds_newdance1.jpg\|../files/articles/lamonteyoung/1962_twosounds_newdance1b.jpg] [../files/articles/lamonteyoung/1962_twosounds_newdance2.jpg\|../files/articles/lamonteyoung/1962_twosounds_newdance2b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}"A Piece : That makes some noise and is sort of scary / as requested by Mr Herko (March 18, 1962)", by La Monte Young{br}''(supposed "Two Sounds" ?)''{/cap}{/small}{br}{br}{small}— Source : http://pastelegram.org/features/282/event/259 {br}{/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 — '''1962/09''' —{small}Wiesbaden Fluxus Festival, Hörsaal des Städtischen Museums, "Fluxus Internationale Festspiele Neuster Musik"{/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_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){br}{br} — '''^[[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 — '''1963/05/11 & 12''' —{small}"Yam Festival", at the Hardware Poet's Playhouse, 115 West 54th Street, New York{/small}\| \|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 — '''1964/03/21 ''' — {small}First performance of "Winterbranch" with 'Two Sounds" by La Monte Young. Performed with Merce Cunningham and Dance Company. Hatford, Connecticut. Duration : 15mn{br}{br}Modern dance work in one act with choreography by Merce Cunningham, music by LaMonte Young, and design (set design, costumes & light design) by Robert Rauschenberg. Premiered 21 Mar. 1964 by the Cunningham Dance Company at Wadsworth Atheneum, Hartford, Connecticut, with Carolyn Brown, Merce Cunningham, William Davies, Viola Farber, Barbara Lloyd, Steve Paxton. It was conceived as a plotless work although its abrasive music and glaring lighting design suggest images of violence and destruction. The New York premiere was 4 Mar. 1965 at New York State Theater, and it was revived for Boston Ballet in 1974. It remained in Cunningham's repertory until 1976. — Source : The Oxford Dictionary of Dance, http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803124216414 {br}{br}The concept for Winterbranch came from what Cunningham referred to as “facts in dancing.” Two such facts are the act of falling, and unless one stays on the ground, the subsequent act of rising. The dance began with Cunningham crawling slowly across the stage carrying a flashlight, followed by the dancers engaging in a series of falls, in both slow and fast motion, eventually clustering together to fall and rise as a cohesive group. Cunningham asked Rauschenberg to think of the lighting as if it were nighttime, with automobile lights flashing in faces, reminiscent of walking along a dark highway. Rauschenberg dressed the dancers in sweat suits and sneakers, with black paint under their eyes. La Monte Young’s music for the piece, entitled 2 Sounds, consisted of “the sound of ashtrays scraped against a mirror, and the other, that of pieces of wood rubbed against a Chinese gong.” — Source : Merce Cunningham Trust, http://www.mercecunningham.org/index.cfm/choreography/dancedetail/params/work_ID/83/ — [Works choregraphed by Merce Cunningham\|http://prelectur.stanford.edu/lecturers/cunningham/choreography.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 — '''1964/06/12 ''' — {small}June 12-14, 1964. Paris, Théâtre National de l’Est Parisien. Performed with David Tudor and Merce Cunningham and Dance Company: "Winter Music" (electronic version) to Aeon; Conlon Nancarrow, "Rhythm Studies for Player Piano ^[sic^] no. 1, 2, 4, 5, 6, 7" to Crises (tape); Erik Satie," Nocturnes" to Nocturnes (June 12, evening); Rune; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Erik Satie, "Trois morceaux en forme de poire" to Septet; Christian Wolff, "Suite" to Changeling (Tudor) (June 13, evening); "Cartridge Music (as Duet for Cymbal)" to Paired; John Cage "Concert for Piano and Orchestra" to Antic Meet; Morton Feldman, "Ixion" to Summerspace; La Monte Young, "Two Sounds" to Winterbranch (June 14, matinee); John Cage interviewed by John Ashbery (Ashbery 1964; Cage 1967o, 85n; Cage 1968c; Ephron 1964; Lenoir, J.-P. 1964).{/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_twosounds_winterbranch1.jpg\|../files/articles/lamonteyoung/1964_twosounds_winterbranch1b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}“I was in the second cast after the ’64 tour. It was a very strong piece. Mostly the sound … it was a La Monte Young piece; the sound of a chair being scraped, a loud scraping sound. It came on late in the piece, and never let up till the end. We did it at Lincoln Center and Robert Rauschenberg did the lighting. He used their computerized lighting system. He randomly punched things in and put it in for random lighting. It got stuck at one point and blinded the audience — they were sitting with their programs up and everyone boo’ed". — Albert Reid (a former Cunningham Company's dancer){/cap}{/small}\| {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 — '''1964/07/05 ''' — {small}July 5, 1964. Essen, Folkwang-Hochschule. Performed with Merce Cunningham and Dance Company: from John Cage "Music for Piano" to Suite for Five; La Monte Young, "Two Sounds" to Winterbranch; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Christian Wolff, "For Piano I" to Untitled Solo (Tudor).{/small}\| {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 — '''1964/07/12 ''' — {small}July 12, 1964. Cologne, Opernhaus. Performed with David Tudor and Merce Cunningham and Dance Company: Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Conlon Nancarrow, "Studies for Player Piano" to Crises (tape); La Monte Young, "Two Sounds" to Winterbranch; John Cage "Concert for Piano" and Orchestra to Antic Meet.{/small}\| {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 — '''1964/07/23 ''' — {small}July 23-24, 1964. Dartington, Devon, England, Dartington Hall. Performed with David Tudor and Merce Cunningham and Dance Company: from John Cage "Music for Piano" to Suite for Five; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Conlon Nancarrow, "Rhythm Studies" to Crises (tape); Christian Wolff, "For Piano I" to Untitled Solo (Tudor) (July 23); John Cage "Cartridge Music (as Duet for Cymbal)" to Paired; John Cage "Concert for Piano and Orchestra" to Antic Meet; Erik Satie, "Trois morceaux en forme de poire" to Septet; La Monte Young, "Two Sounds" to Winterbranch (July 24).{/small}\| {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 — '''1964/07/27 ''' — {small}July 27-August 1, 1964. London, Sadler’s Wells Theatre (Rosebury Avenue). Performed with David Tudor and Merce Cunningham and Dance Company: from John Cage "Music for Piano" to Suite for Five; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Conlon Nancarrow, "Rhythm Studies" to Crises (tape); Christian Wolff, "For Piano I" to Untitled Solo (Tudor) (July 27-28); John Cage "Concert for Piano and Orchestra" to Antic Meet; Bo Nilsson, "Rörelser, Slagfigurer, Kvantiteter" to Night Wandering (Tudor); Erik Satie, "Trois morceaux en forme de poire" to Septet; Christian Wolff, "Music for Merce Cunningham" to Rune (July 29-30); John Cage "Atlas Eclipticalis" with "Winter Music" (electronic version) to Aeon; Conlon Nancarrow, "Rhythm Studies" for Player Piano (collage arranged by Cage) to Cross Currents (first performance of the dance); Erik Satie, "Nocturnes" to Nocturnes; Christian Wolff, "Suite" to Changeling (Tudor) (July 31); John Cage "Cartridge Music (as Duet for Cymbal)" to Paired; Morton Feldman, "Ixion" to Summerspace; Erik Satie, "Nocturnes" to Nocturnes; La Monte Young, "Two Sounds" to Winterbranch (August 1, matinee); John Cage "Cartridge Music (as Duet for Cymbal)" to Paired; Morton Feldman, "Ixion" to Summerspace; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; La Monte Young, "Two Sounds" to Winterbranch (August 1, evening).'' — (Barnes, C. 1964c; Bland 1964a; Buckle 1964a; Buckle 1964b; Cardew 1964; Clarke, M. 1964; Daily Mail 1964; Hope-Wallace 1964; Mellers 1964c; New Statesman 1964; Porter, A. 1964a; Porter, A. 1964b; Roberts, N. 1964; Spectator 1964; Time 1964b; Times 1964a; Times 1964b; Times 1964d; Times 1964e; Times 1964f)''{/small}\| {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 — '''1964/08/05 ''' — {small}August 5-22, 1964 (evenings). London, Phoenix Theatre (Charing Cross Road). Performed with David Tudor and Merce Cunningham and Dance Company: John Cage "Concert for Piano and Orchestra" to Antic Meet; Morton Feldman, "Ixion" to Summerspace; Bo Nilsson, "Rörelser, Slagfigurer, Kvantiteter" to Night Wandering (Tudor); Erik Satie, "Trois morceaux en forme de poire" to Septet (August 5-8); Field Dances; Toshi Ichiyanagi, "Music for Piano" (electronic version) to Story; Conlon Nancarrow, "Rhythm Studies" to Crises (tape); Christian Wolff, "Music for Merce Cunningham" to Rune (August 10-13); from John Cage "Music for Piano" to Suite for Five; La Monte Young, "Two Sounds" to Winterbranch; Conlon Nancarrow, "Rhythm Studies for Player Piano" (collage arranged by Cage) to Cross Currents; Erik Satie, "Nocturnes" to Nocturnes (August 14-15, 17-18); John Cage "Cartridge Music (as Duet for Cymbal)" to Paired; John Cage "Concert for Piano and Orchestra" to Antic Meet; John Cage "Winter Music" (electronic version) to Aeon; Christian Wolff, "Suite" to Changeling (Tudor) (August 19-22) ''— (Barnes, C. 1964a; Barnes, C. 1964b; Bland 1964b; Cardew 1964; Clarke, M. 1964; Goodwin, N. 1964; Spectator 1964; Time 1964a; Times 1964c)''.{/small}\| {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 — '''1964/09/08 ''' — '{small}September 8-14, 1964. Stockholm. Performed with David Tudor and with Merce Cunningham and Dance Company: Atlas Eclipticalis (percussion part) to Museum Event # 2 (September 8, Moderna Museet); videotaped for Swedish television: Concert for Piano and Orchestra to Antic Meet; Conlon Nancarrow, Rhythm Studies to Crises (tape); Bo Nilsson, Rörelser, Slagfigurer, Kvantiteter to Night Wandering (Tudor) (September 9, Moderna Museet); Royal Swedish Ballet with guest appearance by Merce Cunningham and Dance Company: La Monte Young, Two Sounds to Winterbranch (September 9, Opera); performed with David Tudor, first performance of Electronic Music for Piano (Tudor alone or with Cage?) and music by Sylvano Bussotti, Toshi Ichiyanagi, and Christian Wolff (September 10, Moderna Museet, New York-Kväll); Variations IV to Museum Event # 3; Tudor, Fluorescent Sound; Öyvind Fahlström, Fåglar i Sverige (September 14, Moderna Museet); Cunningham gave lecture-demonstration (September 10, Baletakademi) '' — (Dagens Nyheter 1964; Hähnel 1964; Hellqvist 1964; Johnson, Be. E. 1964)''.{/small}\| {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 — '''1964/09/29 ''' — {small}September 29, 1964. Poznań, Paustwowa Opera. Performed with David Tudor and Merce Cunningham and Dance Company: Winter Music (electronic version) to Aeon; La Monte Young, Two Sounds to Winterbranch; Concert for Piano and Orchestra to Antic Meet.{/small}\| {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 — '''1964/10/03 ''' — {small}October 3, 1964. Krefeld, Theater der Stadt Krefeld. Performed with David Tudor and Merce Cunningham and Dance Company: Winter Music (electronic version) to Aeon; La Monte Young, Two Sounds to Winterbranch; Erik Satie, Nocturnes to Nocturnes. {/small}\| {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 — '''1964/10/08 ''' — {small}October 8, 1964. Scheveningen, Kurzaal. Performed with David Tudor and Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace; Toshi Ichiyanagi, Music for Piano (electronic version) to Story; Christian Wolff, Suite to Changeling (Tudor); La Monte Young, Two Sounds to Winterbranch.{/small}\| {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 — '''1964/10/15 ''' — {small}October 15-16, 1964. Bombay, Bhulabhai Desai Auditorium. Performed with David Tudor and Merce Cunningham and Dance Company: Cartridge Music (as Duet for Cymbal) to Paired; from Music for Piano to Suite for Five; Toshi Ichiyanagi, Music for Piano (electronic version) to Story; La Monte Young, Two Sounds to Winterbranch (October 15); Concert for Piano and Orchestra to Antic Meet; Winter Music (electronic version) to Aeon; Conlon Nancarrow, Rhythm Studies to Crises (tape) (October 16).{/small}\| {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 — '''1964/10/29 ''' — {small}October 29-30, 1964. New Delhi, Aifacs. Performed with David Tudor and Merce Cunningham and Dance Company: Concert for Piano and Orchestra to Antic Meet; Morton Feldman, Ixion to Summerspace; Christian Wolff, For Piano I to Untitled Solo (Tudor); La Monte Young, Two Sounds to Winterbranch (October 29); Toshi Ichiyanagi, Music for Piano (electronic version) to Story; Conlon Nancarrow, Rhythm Studies to Crises (tape); Bo Nilsson, Rörelser, Slagfigurer, Kvantiteter to Night Wandering (Tudor); Erik Satie, Trois morceaux en forme de poire to Septet (October 30).{/small}\| {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 — '''1964/11/06 ''' — {small}November 6, 10-11, 1964. Tokyo, Sankei Hall, Otemachi. Performed with David Tudor and Merce Cunningham and Dance Company: from Music for Piano to Suite for Five; Toshi Ichiyanagi, Music for Piano (electronic version) to Story; Erik Satie, Trois morceaux en forme de poire to Septet (November 6); Variations IV to Cross Currents; Winter Music (electronic version) to Aeon; Toshi Ichiyanagi, Music for Piano (electronic version) to Story; Christian Wolff, Suite to Changeling (Tudor) (November 10); Cartridge Music (as Duet for Cymbal) to Paired; from Music for Piano to Suite for Five; Erik Satie, Nocturnes to Nocturnes; La Monte Young, Two Sounds to Winterbranch (November 11).{/small}\| {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 — '''1964/11/12 ''' — {small}November 12, 1964. Kobe. Performed with David Tudor and Merce Cunningham and Dance Company: Concert for Piano and Orchestra to Antic Meet; Winter Music (electronic version) to Aeon; La Monte Young, Two Sounds to Winterbranch.{/small}\| {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 — '''1965/03/04 ''' — {small}March 4, 6, and 7, 1965. New York, Lincoln Center for the Performing Arts, New York State Theater, Modern Dance in Repertory (March). In program shared with American Dance Theater and Juilliard Dance Ensemble, Merce Cunningham and Dance Company performed La Monte Young, Two Sounds to Winterbranch (March 4, evening, and March 6, matinee); Morton Feldman, Ixion to Summerspace (March 7, matinee and evening).{/small}\| {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 — '''1965/03/28 ''' — {small}March 28, 1965. Philadelphia, Pennsylvania, YM-YWHA. Performed with Merce Cunningham and Dance Company: Variations IV to Cross Currents; Conlon Nancarrow, Rhythm Studies to Crises (tape); Erik Satie, Nocturnes to Nocturnes; La Monte Young, Two Sounds to Winterbranch.{/small}\| {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 — '''1965/04/08 ''' — {small}April 8, 1965. New Brunswick, New Jersey, Douglas College: talk by Merce Cunningham with excerpts from La Monte Young, Two Sounds to Winterbranch; Conlon Nancarrow, Rhythm Studies to Crises (tape).{/small}\| {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 — '''1965/04/12 ''' — {small}April 12, 1965. Ripon, Wisconsin, Ripon College. Performed with David Tudor and Merce Cunningham and Dance Company: Conlon Nancarrow, Studies for Player Piano Nos. 1, 2, 4, 5, 6, 7 to Crises (tape); La Monte Young, Two Sounds to Winterbranch; Variations IV and perhaps other music to Field Dances, Collage III and Cross Currents (performed as a continuous event){/small}\| {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 — '''1965/04/13 ''' — {small}April 13-14, 1965. Houston, Texas. Attended; performed Where Are We Going? and What Are We Doing? (April 13, University of Saint Thomas, Jones Hall); performed with David Tudor and Merce Cunningham and Dance Company, presented by the Houston Contemporary Arts Association: Conlon Nancarrow, Studies for Player Piano Nos. 1, 2, 4, 5, 6, 7 to Crises (tape); La Monte Young, Two Sounds to Winterbranch; Variations IV and perhaps other music to Field Dances, Collage III and Cross Currents (performed as a continuous event) (April 14, Music Hall)'' — (Ogg 1965; Roussel 1965)''.{/small}\| {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 — '''1965/07/30 ''' — {small}July 30-31, 1965. Upper Black Eddy, Pennsylvania, Sundance. Performed with David Tudor and Merce Cunningham and Dance Company: Variations II (Tudor); 0'00" (Cage); Variations IV (Cage and Tudor) (July 30, concert performance); Music for Piano (Nos. 4-84, selection) to Suite for Five; La Monte Young, Two Sounds to Winterbranch; Variations V (July 31, dance performance)'' — (Miller, L.E. 2001)''.{/small}\| {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 — '''1965/11/10 ''' — {small}November 10, 1965. Salt Lake City, Utah, University of Utah. Probably performed with David Tudor and Merce Cunningham and Dance Company: Music for Piano ^[1-84^] to Suite for Five; La Monte Young, Two Sounds to Winterbranch; Variations IV to Collage III; Erik Satie, Nocturnes to Nocturnes.{/small}\| {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 — '''1965/11/23 ''' — {small}November 23-28, 1965. Chicago, Illinois, Harper Theatre, Dance Festival. Performed with David Tudor and Merce Cunningham and Dance Company: from Music for Piano to Suite for Five; La Monte Young, Two Sounds to Winterbranch; Variations V (November 23); Morton Feldman, Ixion to Summerspace (version for two pianos); How to Pass, Kick, Fall, and Run (with electronic modifications by Tudor); Solo for Piano from Concert for Piano and Orchestra (Tudor) with WBAI (Cage) to Antic Meet (November 24); Field Dances/Collage III; La Monte Young, Two Sounds to Winterbranch; Bo Nilsson, Rörelser, Slagfigurer, Kvantiteter to Night Wandering (Tudor); Nocturnes (November 25); from Music for Piano to Suite for Five; How to Pass, Kick, Fall, and Run; Bo Nilsson, Rörelser, Slagfigurer, Kvantiteter to Night Wandering (Tudor); Nocturnes (November 26); Field Dances/Collage III; La Monte Young, Two Sounds to Winterbranch; Variations V (November 27, matinee); How to Pass, Kick, Fall, and Run, Variations V; Morton Feldman, Ixion to Summerspace (November 27, evening); Variations IV to Field Dances/Collage III; How to Pass, Kick, Fall, and Run; Solo for Piano from Concert for Piano and Orchestra (Tudor) with WBAI (Cage) to Antic Meet (November 28).'' — (Cage 1967o, 133n; Levy, B. 1965; Miller, L.E. 2001; Williams, M. 1965)''.{/small}\| {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 — '''1966/02/03 ''' — {small}February 3-5, 1966. Beloit, Wisconsin, Beloit College, Avant-Garde Festival. Attended; gave concert-lecture including (presumably first) reading from Diary: How to Improve the World (You Will Only Make Matters Worse) 1965 (February 4, morning, Eaton Chapel); performed with David Tudor and Merce Cunningham and Dance Company: Music for Piano 4-84 to Suite for Five; La Monte Young, Two Sounds to Winterbranch (tape machines); How to Pass, Kick, Fall, and Run (alone) (February 4, evening, Field House).'' — (Cage 1967o, 3; Stocking and Stocking 1966)''.{/small}\| {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 — '''1966/04/23 ''' — {small}April 23, 1966. New York, Brooklyn Academy of Music. Performed with Merce Cunningham and Dance Company (and presumably with David Tudor): Concert for Piano and Orchestra to Antic Meet; from Music for Piano to Suite for Five; La Monte Young, Two Sounds to Winterbranch'' — (Barnes, C. 1966a)''.{/small}\| {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 — '''1967/04/19 ''' — {small}April 19-20, 1967. Lexington, Kentucky, University of Kentucky, School of Fine Arts, Festival of the Arts (April 5-22). Performed with Merce Cunningham and Dance Company: How to Pass, Kick, Fall, and Run (with David Vaughan); Variations V; La Monte Young, Two Sounds to Winterbranch (April 19, Memorial Coliseum); lectured (April 20, Guignol Theatre).'' — (Werle 1967)''.{/small}\| {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 — '''1967/04/23 ''' — {small}April 23, 1967. Columbus, Ohio State University, Battelle Auditorium, organized by School of Music and Department of Dance. Performed with David Tudor, Gordon Mumma, David Vaughan, and Merce Cunningham and Dance Company: from Music for Piano 4-84 to Suite for Five (with Tudor); How to Pass, Kick, Fall, and Run (with Vaughan); also La Monte Young, 2 Sounds to Winterbranch (Mumma?).{/small}\| {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 — '''1968/07/15 ''' — {small}July 15-20, 1968. México, D.F., Teatro de Bellas Artes, Programa Cultural de la XIX Olimpiada, Festival Internatiocal de las Artes, presented by the Instituto Nacional de Bellas Artes. Performed with Gordon Mumma, David Tudor and Merce Cunningham Dance Company: from Music for Piano 1-84 to Suite for Five, Tudor, Rainforest to Rainforest (Tudor), Mumma, Mesa to Place (Mumma and Tudor) (July 15; July 16; July 20, evenings); How to Pass, Kick, Fall, and Run; Toshi Ichiyanagi, Activities for Orchestra to Scramble; La Monte Young, Two Sounds to Winterbranch (July 18, evening; July 19, late afternoon); Variations IV to Field Dances; David Behrman, … for nearly an Hour… to Walkaround Time; Bo Nilsson, Rörelser, Slagfigurer, Kvantiteter to Night Wandering (Tudor); Pierre Schaeffer and Pierre Henry, from Symphonie pour un homme seul to Collage III (July 19, evening; July 20, late afternoon).{/small}\| {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 — '''1970/01/08 ''' — {small}January 8-12, 1970. New York, Brooklyn Academy of Music, ^[Brooklyn^] Festival of Dance. Performed with Merce Cunningham and Dance Company (January 5-16): first performances of Cheap Imitation (piano) to Second Hand (January 8, 9, 12, Cage); other performances David Behrman, ... for Nearly an Hour... to Walkaround Time (January 8); Conlon Nancarrow, Studies for Player Piano No. 1-2, 4-5, 6-7 to Crises (tape); David Tudor, Rainforest to Rainforest (January 9); Pauline Oliveros, In Memoriam Nikola Tesla, Cosmic Engineer to Canfield; La Monte Young, 2 Sounds to Winterbranch; Christian Wolff, For 1, 2 or 3 People to Tread (January 10); Gordon Mumma, Mesa to Place; David Tudor, Rainforest to Rainforest (January 12).'' — (Cunningham, M. 1982b, 181-182; Terry, W. 1970)''.{/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_twosounds_winterbranch2.jpg\|../files/articles/lamonteyoung/1964_twosounds_winterbranch2b.jpg] [../files/articles/lamonteyoung/1964_twosounds_winterbranch3.jpg\|../files/articles/lamonteyoung/1964_twosounds_winterbranch3b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}Photos : James Klosty{/cap}{/small}{br}{small}http://www.nancydalva.com/2012/10/cunninghams-winterbranch-photos-from.html {/small}{br}{br}{small}{cap}The cast in its entirety for this January 1970 performance was: Merce Cunningham, Carolyn Brown, Sandra Neels, Jeff Slayton, Valda Setterfield, and Chase Robinson.{br}Photo 1 : Merce Cunningham and Sandra Neels {br}Photo 2 : Merce Cunningham and Carolyn Brown{/cap}{/small}\| {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 — '''1970/03/07 ''' — {small}Early March-March 7, 1970. Pittsburgh, Pennsylvania. Organized by Pittsburgh Dance Council. During one-week residency (with the company: lecture-demonstrations, open rehearsals) performed with Merce Cunningham and Dance Company: Events (during the week on variouys locations), lecture-demonstration including La Monte Young, Two Sounds to Winterbranch (March 6, Carnegie Music Hall); open rehearsal (March 7, afternoon, Syria Mosque); Cheap Imitation (piano) to Second Hand; David Tudor, Rainforest; Christian Wolff, music to Tread (March 7, evening, Syria Mosque, concluding concert). ''— (Beaman 1970; Miller, Do. 1970)''.{/small}\| {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 — '''1976/03/15 ''' — {small}March 15-20, 1976. Sydney, New South Wales, Opera House, Opera Theatre. Performed with David Tudor, Takehisa Kosugi, and Merce Cunningham and Dance Company: Christian Wolff, Music for Merce Cunningham to Rune (Cage and Tudor, pianos); David Behrman, Voice with Melody-Driven Electronics to Rebus, Child of Tree to Solo (Cage); Gordon Mumma, Telepos to TV Rerun (March 15-17); Maryanne Amacher, Remainder to Torse (Tudor?); La Monte Young, Two Sounds to Winterbranch; David Tudor, Toneburst to Sounddance; Third Week of March to Signals (Cage, Kosugi, Tudor) (March 18-20).{/small}\| {br}{br} ---- {small}{cap}'''Références :'''{/cap}{br}http://cagecomp.home.xs4all.nl/1912-1971.htm {br}http://cagecomp.home.xs4all.nl/1972-1992.htm {/small} {br}{br} ---- {br}{br} ---- {br}{br}
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