The New Yorker: Eastman, all but forgotten at century’s end, is now seen as a brazen pioneer. Courtesy R. Nemo Hill Collection
John Malveaux of
writes:
Prior to attending "GAY GUERILLA: A PORTRAIT OF JULIUS EASTMAN", January
23, 2017 at Colburn School Zipper Hall I met with Bass Baritone Devone
Tines and later quickly read the New Yorker story about Julius Eastman.
See http://www.newyorker.com/magazine/2017/01/23/julius-eastmans-guerrilla-minimalism. The Colburn program included Julius EASTMAN: The Holy Presence of Joan d'Arc (Prelude)
Julius EASTMAN: The Holy Presence of Joan d'Arc*
A
week prior I discovered Crazy N_____ (four pianos) on YouTube and felt
prepared for the evening. Devone mentioned in our meeting that he was
singing an a acappella part and I did not ask any questions.
The
program began with 10 cello players walking onto lite stage. Then i
noticed high above the rear of the stage (second level) stood Devone
Tines. A spot light focused on Devone and the stage light went dark on
the conductor and cello players. . Devone delivered a recycling 12
minute a cappella spellbinding performance coming from above with the
limitation of only about 12 different words to sing or recite. Then the
spotlight on Devone went dark and the stage light returned to the ten
cello players for The Holy Presence of Joan d'Arc. Hear/visualize Prelude To The Holy Presence Of Joan D'Arc https://www.youtube.com/watch?v=YpuCaQRHzRo
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