A week ago Old First Concerts in San Francisco sponsored a sold out performance of the music of Julius Eastman. Hybrid Highbrow has discussed Eastman’s history and significance before. I wish that I could have attended this event, but my friend Sherry Gendelman, who hosts the Piano program on KPFA, went and sent me her notes:
“There were four grand pianos on stage, three of which were lent to the church for the performance by R. Kassman Pianos of Berkeley. Julius Eastman’s music is not traditionally melodic, though it is infused with many classical influences. It is atonal, assaultive, percussive and mind boggling. The first three, short pieces, were religious in theme. ‘Touch Him When,’ ‘Our Father,’ and ‘Hail Mary.’ They were unique in their conception, particularly ‘Hail Mary,’ which consisted of a performer speaking the Hail Mary prayer over and over through a megaphone, accompanied by piano. I can only imagine what Eastman suffered at the hands of organized religion.After intermission there was performance of his piece ‘Crazy Nigger,’ composed 1979. It involved all four pianos. It began with just four pianists. The program indicated that there would be additional players at some point in the piece. I listened with my eyes closed. I heard in the beginning the brilliance and classical training that Eastman had. The music also spoke of what it feels like to be called “crazy” and “nigger” for your entire life. I was so lost in the music that when I opened my eyes was startled to see at least two or four more people surrounding each piano and banging out their parts and hearts. I was startled by the number of people onstage and the cacophony of noise and music that they made, all from Eastman’s score. When the piece was over the audience erupted with applause and cheers. I’m really happy that I attended.”
