Age, Biography and Wiki

Julius Eastman was born on 27 October, 1940 in New York, New York, U.S., is an American composer. Discover Julius Eastman's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 49 years old?

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Occupation Composer · pianist · vocalist · performance artist
Age 49 years old
Zodiac Sign Scorpio
Born 27 October, 1940
Birthday 27 October
Birthplace New York, New York, U.S.
Date of death 28 May, 1990
Died Place Buffalo, New York, U.S.
Nationality United States

We recommend you to check the complete list of Famous People born on 27 October. He is a member of famous artist with the age 49 years old group.

Julius Eastman Height, Weight & Measurements

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Julius Eastman Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Julius Eastman worth at the age of 49 years old? Julius Eastman’s income source is mostly from being a successful artist. He is from United States. We have estimated Julius Eastman's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
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Timeline

1940

Julius Eastman (October 27, 1940 – May 28, 1990) was an American composer, pianist, vocalist, and performance artist whose work is associated with musical minimalism.

He was among the first composers to combine minimalist processes with elements of pop music, and involve experimental methods of extending and modifying music in creating what he called "organic music".

He often gave his pieces titles with provocative political intent, such as Evil Nigger and Gay Guerrilla, and has been acclaimed following new performances and reissues of his music.

Julius Eastman grew up in Ithaca, New York, with his mother, Frances Eastman, and younger brother, Gerry.

He began studying piano at age 14 and made rapid progress.

He studied at Ithaca College before transferring to the Curtis Institute of Music in Philadelphia.

1963

There he studied piano with Mieczysław Horszowski and composition with Constant Vauclain, and switched majors from piano to composition, graduating in 1963.

1966

He made his debut as a pianist in 1966 at The Town Hall in New York City.

1970

Eastman and Kotik performed together extensively in the early to mid-1970s.

Along with Kotik, Eastman was a founding member of the S.E.M. Ensemble.

1971

From 1971 he performed and toured with the group, and composed numerous works for it.

1973

Eastman had a rich, deep, and extremely flexible singing voice, for which he became noted for his 1973 Nonesuch recording of Eight Songs for a Mad King by the British composer Peter Maxwell Davies.

Eastman's talents gained the attention of composer-conductor Lukas Foss, who conducted Davies' music in performance at the Brooklyn Philharmonic.

At the behest of Foss, Eastman joined the Creative Associates — a "prestigious program in avant-garde classical music" that "carried a stipend but no teaching obligations" —at SUNY Buffalo's Center for the Creative and Performing Arts.

During this period, he met Petr Kotik, a Czech-born composer, conductor, and flutist.

During this period, fifteen of Eastman's earliest works were performed by the Creative Associates, including Stay On It (1973), an early augury of postminimalism and one of the first art music compositions inspired by progressions from popular music, presaging the later innovations of Arthur Russell and Rhys Chatham.

1975

Although Eastman began to teach theory and composition courses over the course of his tenure, he left Buffalo in 1975 following a controversially ribald performance of John Cage's aleatoric Songbooks by the S.E.M. Ensemble under the aegis of Morton Feldman.

It included nudity and homoerotic allusions interpolated by Eastman.

Cage was incensed and said during an ensuing lecture that Eastman's "[ego]... is closed in on homosexuality. And we know this because he has no other idea to express."

Additionally, Eastman's friend Kyle Gann has speculated that his inability to acclimate to the more bureaucratic elements of academic life (including paperwork) may have hastened his departure from the university.

Shortly thereafter, Eastman settled in New York City, where he initially straddled the divide between the conventionally bifurcated "uptown" and downtown music scenes.

Eastman often wrote his music following what he called an "organic" principle.

Each new section of a work contained all the information from previous sections, though sometimes "the information is taken out at a gradual and logical rate."

1976

In 1976, Eastman participated in a performance of Eight Songs for a Mad King conducted by Pierre Boulez at Lincoln Center.

1979

The principle is most evident in his three works for four pianos, Evil Nigger, Crazy Nigger, and Gay Guerrilla, all from around 1979.

The last of these appropriates Martin Luther's hymn, "A Mighty Fortress Is Our God," as a gay manifesto.

1980

By 1980, he was regularly touring across the United States and internationally; a recording of a performance from that year at Northwestern University was released on the posthumous compilation Unjust Malaise (2005).

His life fell apart; many of his scores were impounded by the New York City Sheriff's Office following an eviction in the early 1980s, further impeding his professional development.

While homeless, he briefly took refuge in Tompkins Square Park.

His hope for a lectureship at Cornell University also failed to materialize during this period.

Despite a temporary attempt at a comeback, Eastman died alone at the age of 49 in Millard Fillmore Hospital in Buffalo, New York of cardiac arrest.

1981

He served as the first male vocalist in Meredith Monk's ensemble, as documented on her influential album Dolmen Music (1981).

A 1981 piece for Eastman's cello ensemble, The Holy Presence of Joan d'Arc, was performed at The Kitchen in New York City.

1983

Despondent about what he saw as a dearth of worthy professional opportunities, Eastman grew increasingly dependent on drugs after 1983.

1986

In 1986, the choreographer Molissa Fenley set her dance, Geologic Moments, to music of Philip Glass and two works by Eastman (an unknown work for two pianos and "One God" in which Eastman sang and played piano), which premiered at the Brooklyn Academy of Music.

2006

He fostered a strong kinship and collaboration with Arthur Russell, conducting nearly all of his orchestral recordings (compiled as First Thought Best Thought [Audika Records, 2006]) and participating (as organist and vocalist) in the recording of 24-24 Music (1982; released under the imprimatur of Dinosaur L), a controversial disco-influenced composition that included the underground dance hits "Go Bang!"

and "In the Cornbelt"; both featured Eastman's trademark bravado.

During this period, he also played in a jazz ensemble with his brother Gerry, who previously played guitar in the Count Basie Orchestra.

He played in and conducted the Brooklyn Philharmonia's CETA Orchestra (funded by the Comprehensive Employment and Training Act under the administration of the Cultural Council Foundation).

He also coordinated the Philharmonia's Community Concert Series in conjunction with Foss and other composers of color.