Note: An * asterisk next to an artist’s name denotes that they are one of 17 founding AMOC* company members.

Julius Eastman, Composer
Seth Parker Woods, Curator and Artistic Advisor

Titilayo Ayangade, Cello
Doug Balliett*, Bass
King Britt, DJ
Catherine Brookman, Voice
Ernest Carbajal, Cello
Isabel Lepanto Gleicher, Flute
Irene Han, Cello
Conor Hanick*, Piano
Joshua Henderson, Violin
Jacob Hernandez, Cello
Sidney Hopson, Percussion
Evan Howard, Cello
JIJI, Guitar
Coleman Itzkoff*, Cello
Clarice Jenson, Cello
Joseph Kubera, Piano
Thapelo Masita, Cello
Jodie Landau, Multi-Instrumentalist
Erin Rogers, Saxophone
Chris Rountree, Conductor and Trombone
Adam Tendler, Piano
Davóne Tines*, Voice
Richard Valitutto, Piano
Clara Warnaar, Percussion
Shelley Washington, Saxophone
Seth Parker Woods, Cello
Nate Wooley, Trumpet

This AMOC* performance is produced in collaboration with THE OFFICE performing arts + film.

JULIUS EASTMAN: THE END IS NOT IN SIGHT

New York Premiere
June 29, 5:30 pm
Josie Robertson Plaza

—---------------------------------

Composer Julius Eastman
Curator and Artistic Advisor Seth Parker Woods

Prelude to The Holy Presence of Joan D’Arc (1981), Julius Eastman
Davóne Tines*, voice

Trumpet (1970), Julius Eastman
Arranged by Christopher McIntyre
Nate Wooley, Robby Garrison, Jatin Himatsinghani, Brian Olson, Aidan Peterson, Megan Radcliffe, and Rebecca Steinberg, trumpets

The Holy Presence of Joan D’Arc (1981), Julius Eastman
Transcribed by Clarice Jensen
Seth Parker Woods, Coleman Itzkoff, Jay Campbell, Clarice Jensen, Titilayo Ayangade, Irene Han, Evan Howard, Ernest Carbajal, Thapelo Masita and Jacob Hernandez, cello

Brief Intermission

Stay on It (1973), Julius Eastman
Nate Wooley, trumpet
Doug Balliett, bass
Shelley Washington and Erin Rogers, saxophones
Isabel Lepanto Gleicher, flute
Joseph Kubera, Adam Tendler, Conor Hanick* and richard valitutto, piano
Jacob Hernandez, violin
JIJI, guitar
Christopher Rountree, trombone
Sidney Hopson and Clara Warnaar, percussion
Davóne Tines*, Julia Bullock*, Catherine Brookman, voice
Jodie Landau, voice & percussion
Lester St. Louis, voice & cello
Seth Parker Woods, Ernest Carbajal, and Coleman Itzkoff*, cello

24 to 24 (1979), Arthur Russell
Chris Rountree, trombone, conductor
Sidney Hopson and Clara Warnaar, percussion
Jodie Landau, percussion & Voice
Doug Balliett, bass
Isabel Lepanto Gleicher, flute
Nate Wooley, trumpet
Josh Henderson, violin
richard valitutto, piano
Shelley Washington and Erin Rogers, saxophone
Lester St. Louis, voice & cello

King Britt, Silent Disco

* AMOC* Company Member

PRODUCTION TEAM
Technical Director Heather Berg
Stage Manager Sarah Orttung

AMOC*
Artistic Director Zack Winokur
Executive Producer Julia Bumke
Director of Investment Strategy Courtney Beck
Operations Manager Shelby Blezinger-McCay
Company Manager Ryan Gedrich
Senior Advisor Jennifer Chen

THE OFFICE PERFORMING ARTS + FILM
Producer Soleil George
Production Director Brendon Boyd
Director of Artist Services Carol Blanco
Technical Director Heather Berg
Founder/Director Rachel Chanoff
Executive Producer Erica Zielinski
Deputy General Manager, Projects Barbara Sartore

LINCOLN CENTER FOR THE PERFORMING ARTS
Shanta Thake, Ehrenkranz Chief Artistic Officer
Jordana Leigh, Vice President, Artistic Programming
Paloma Estévez, Director, Artistic Programming
Rebecca M. Podsednik, Director, Artistic Programming
Cory Dunn, Associate Director, Chief of Staff
Mengtong Guan, Associate Director, Artistic Programming
Godfrey Palaia, Senior Manager, Artistic Programming
Siobahn Sung, Senior Producer, Artistic Programming
Roshni Lavelle, Line Producer, Artistic Programming
Gina Ferrara, Line Producer, Artistic Programming
Kathryn Banks, Line Producer, Artistic Programming
Liam Torchia, Company Manager
Skye Pagon, Company Manager
Jiwon Park, Artistic Executive Coordinator
Monifa Brown, Programming Coordinator
Molly O’Connor, Contracts and Payments Coordinator
Andreina Zama-Díaz, Programming Strategy Project Manager
Randi Vanible, Arts Management Fellow

ACKNOWLEDGEMENTS

The AMOC* and Lincoln Center presentation of Julius Eastman: The End is Not in Sight is produced in collaboration with THE OFFICE performing arts + film.

The score being used for Eastman's Trumpet (1970) was created via transcription by Christopher McIntyre for a performance by TILT Brass during The Kitchen's That Which Is Fundamental festival in February 2018. TILT is releasing a recording of Trumpet and other Eastman works later this year.

These arrangements of Julius Eastman’s works © 2025 by Music Sales Corporation (ASCAP) and Eastman Music Publishing Co. (ASCAP) are used by permission.

Major support to develop the Run AMOC* Festival is provided by C. Graham Berwind, III, Stephen A. Novick, and Bruce and Suzie Kovner. Support to develop the Festival is provided by Paul Buttenwieser, Pat and Bill O’Connor, Jane Toll, and Robert Turner. Additional support to develop the Festival is provided by Barbara Glauber, Helen Little, Sarah Billinghurst Solomon, and Susan and David Young.

Curator’s Note

My first encounter with Julius Eastman and his art came in the form of an mp3 recording live from The Kitchen in the 80s. For others who knew or worked with him in person, it may have come in the form of coy glances, a smile, a rupturing laugh of the corpus, or maybe even a performance in cold Buffalo, NY where he spent so many of his formative years, or downtown New York City where he moved fluidly between music communities as a composer, vocalist, pianist, even dancer. But for me, it was that bootleg mp3, and I still remember the impact his work, and this experience, left on me more than 10 years ago. And yet, it’s been more than 15 years since his renaissance and we’re still discovering fragments of this complex genius’s life and output. When called to curate this weekend-long festival in the name of Eastman, I really had to reflect on what could be shared and presented that hadn’t already been done. To date, there have been at least two major composer portraits of his work in NYC, so what would really make this one different and what had we not covered in the prior iterations? Julius Eastman: A Power Greater Than and The End Is Not In Sight offers another lens to look solely at this artist on full display through the sonorous performances of intergenerational champions of his work, and also actively positioning his creations alongside the cultural shifts taking place on disco dance floors, downtown lofts, and in the Black and queer liberation movement. Pulling from more than a decade of work of performing and teaching about Eastman’s life and his creations as performer and composer, I’ve done my best to twist, stretch and carve out a new lens to experience and get to know the almighty Julius Eastman. My hope is that all that come to experience this music and these powerhouse artists, leave with a new found love, adoration and respect for the genius he was and the music he left us with.

- Seth Parker Woods, June 2025

The Holy Presence of Joan d’Arc

Scored for cello ensemble, Julius Eastman’s The Holy Presence of Joan d’Arc is a tour de force celebrating the beloved heroine of medieval France. Multimedia in nature, the work was originally composed at the request of choreographer Andrew deGroat and presented with live choreography at The Kitchen in 1981. When introducing the performance, Eastman offered a series of letters to Joan herself, one of which reads:

Joan of Arc was impoverished and illiterate, a complete unknown. Yet, through a series of visions she was divinely guided to become a warrior who would defy gender roles and lead her nation to victory during the Siege of Orléans in 1429. Through his Nigger series, including works like Evil Nigger and Gay Guerrilla, Eastman was claiming his Black and gay identities not only with pride but with a sacred militancy inspired by what he saw in Joan of Arc. In the original Prelude—which was improvised a cappella—he refers to three saints who were said to have visited Joan and compelled her heroism. Exploring various religious perspectives throughout his life, he, too, would find guidance through divine agency. Eastman’s own description of this work resonates strongly today in the wake of our national and global crises. He described The Holy Presence... as a warning against all organizational, governmental, and religious forms of oppression. “Even now in my own country,” he notes, “my own people, my own time, gross oppression and murder still continue.”

The original 1981 score for The Holy Presence of Joan d’Arc was tragically lost. However, cellist Clarice Jensen took up the mammoth task of transcribing the surviving audio recordings in 2016, and today it is that score that all cellists work from to keep this monumental work alive.

Stay On It

Com’on now baby, stay on it.
Change this thread from which we move
from invisible to hardly tangible.

With you movin and groovin on it,
making me feel fines wine,
I don’t have to find the MEANING,
because you will have filled in his most invisible and
        intangible Majesty’s palace;
But only if you stay on it.     You Dig
Although his majesty does stay with it,
he can’t stay on it.     (Does that move you?)

Ties that move and break,
disappear, and return again, are not ites that stay on it.
They are sometimy bonds. These bonds cause
screens like the Edge of Night, with
Ivory snow liquid to appear.

This is why baby cakes, I’m ringing you up
in order to relay this song message
so that you can get the feelin
        O sweet boy
Because without the movin and the groovin,
the carin and the sharin,
the reelin and the feelin,
        I mean reality.

- J.E.