Julius Eastman - Right thought, right music.

How does the African-American composer Julius Eastman come into the Beethoven year? 
Both composers have striking similarities, they did not hide their non-conformist opinions in life or in art, both musical visionaries. Eastman conceived and expanded the concept of minimal music before it was even in vogue, using the expressive palette of a wide range of styles from electronic to disco music, years before "cross over".

1st concert, 18h
Crazy Nigger (1978) for ensemble

2nd concert, 19:30h
Colors (1973) for 14 female voices

Macle (1971) for voices

Buddha (1984) for voices

3rd concert, 22h
Femenine (1974) for ensemble

The titles of the "Nigger Series", which includes the composition "Crazy Nigger", were so controversial that they were suppressed at a performance at Northwestern University in 1980.
The premiere was realised with 4 grand pianos, but Eastman emphasises that he could imagine completely different instruments. TRA I TEMPI becomes multicoloured with flute, clarinet, viola, cello, percussion, piano and voice.
Eastman's music was long lost; as a result of his uncompromising life, he died homeless. Rediscovered sketches and radio recordings have yet to be made performable, like Colors, Buddha and Macle.
In Colors, the voices are grouped by rainbow colours, from orange to purple. Black remains an isolated voice. The sketchy score of "Colors" was transcribed and re-performed by Michael Veltman for TRA I TEMPI.
"Buddha" dates from 1984 and is one of Julius Eastman's last compositions. It consists of a single sheet of music. Oval circled: 
Single notes and melody fragments from the highest to the lowest singable registers. An eye peers from the top left.
"Femenine" - a play with patterns that Eastman calls "organic music". TRA I TEMPI will sink 69 minutes into Femenine's bassline, which the listener will never forget.