# Steve Reich



## demiangel

I was just listening to Steve Reich's "Three Movements", "Electric Counterpoint" and "Different Trains" the other day and it struck me just how accessible this is. Minimalist music I've heard is supposed to be an esoteric acquired taste, but this music really isn't so minimal as people claim it to be, it's very listenable and the variation is enough that it doesn't bore, rather, it entrances. "Different Trains" I think is also a socially relevent piece of music, as it's about trains before during and after World War 2. While one train leads to mundane destinations, another train over in Europe leads to the concentration camps. Humanity very well be on a similar course; which train will we all be on if things spiral downward far enough?

One thing I think with this kind of music, is that a tracklike "Different Trains" lends itself more toward listening to as a recording. Of course multiple groups have performance, but instead of using tape players as "performance instruments", why not just compose it as music for the studio?


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## science

I thought the criticism wasn't that it's inacessible, but that it's boring?

Not my opinion, but that's what I thought other people feel. 

For a fun, light, accessible work of minimalism, look for Glass' Uakti.


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## HarpsichordConcerto

Some pieces of Reich's that I have listened to are just plain boring stuff.

_Piano Phase_ (1967). Over nine minutes of drivel.

Notes to explain the intended effect: http://en.wikipedia.org/wiki/Piano_Phase


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## Edward Elgar

Reich is accessible because he writes in a diatonic mode a lot of the time. It's really the canons, phasing, instrumentation and structure that are the keys to enjoying his music.

The best piece of his I've heard so far is this one:










It's worth listening to it all, or if you're lazy listen to snippets of both videos to appreciate the organic evolution of the piece. If you are a responsible listener, it won't be boring.


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## Manxfeeder

I haven't gotten much into Steve Reich, but Different Trains is very effective in portraying that time in his life. Also, Electric Counterpoint is fun to hear. 

As an aside, I was at a discussion with the Kronos Quartet where they discussed recording Different Trains. The piece sounds deceptively simple, but apparently it was difficult to record. Mr. Reich is a stickler for detail and was very demanding in the studio. 

As far as recording just for a studio, I know Stockhausen, Eiler, and Varese, for example, did present recordings as concert pieces, and it would seem that live artists performing with a tape would present difficulties in performance. However, I remember watching the Kronos Quartet play a minimalist piece, and I noticed how it added to the performance to see the artists react to the music. One time their cellist played an ostinato for around 70 repetitions (I think that's the number she gave), so she was freed from looking at the music and began to feel the music and respond to it. Tapes don't do that.


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## HarpsichordConcerto

Edward Elgar said:


> It's worth listening to it all, or if you're lazy listen to snippets of both videos to appreciate the organic evolution of the piece. If you are a responsible listener, it won't be boring.


You are right with the _Octet_. I found that more enjoyable that the very dry _Piano Phase_. I listened to all 18 minutes of _Octet_ and my ears/mind gradually grew accustomed to the lively sounds, though it doesn't motivate me immediately to want to search for vast more similar pieces of his or of that genre.


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## Art Rock

For my blog, I am currently preparing a list of 100 of some of my favourite composers with their imo best work. Reich will be inthere with Different trains, a masterpiece.


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## Argus

Drumming, Music for 18 Musicians and Electric Guitar Phase (transcription of his Violin Phase) are my current favourites of his.

I can't find any Reich I dislike. His early tape/phase pieces might grow tiresome if I overdid them, but I don't and they haven't. Like Glass, he has gotten into a comfy sound formula since the 80's. Not to say his newer output isn't good, just that it's variations on a well tried-and-tested theme.

I recommend this:


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## norman bates

HarpsichordConcerto said:


> Some pieces of Reich's that I have listened to are just plain boring stuff.
> 
> _Piano Phase_ (1967). Over nine minutes of drivel.
> 
> Notes to explain the intended effect: http://en.wikipedia.org/wiki/Piano_Phase


i would agree with you, because i find boring many works of him, but piano phase is my favorite piece :lol:
I think that is probably the work that best explain the virtues of minimalism, great trance music


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## Edward Elgar

HarpsichordConcerto said:


> I listened to all 18 minutes of _Octet_ and my ears/mind gradually grew accustomed to the lively sounds.e.


In the words of Obi-wan Kenobi, you've taken your first steps into a larger world.


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## Couchie

I have a soft spot for _Piano Phase_ because it was the first Reich work I ever heard. _Different Trains_ is certainly one of the seminal works of the 20th century and one of only a very few holocaust tributes which does it justice.


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## kmisho

HarpsichordConcerto said:


> Some pieces of Reich's that I have listened to are just plain boring stuff.


Boring can be a matter of taste, right? One of my favorite things by him is the first movement of Drumming, even more boring than Piano Phase. I can't get enough of it. I'll listen to the entire half hour of it, nonstop, without moving a muscle.


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## kmisho

Couchie said:


> I have a soft spot for _Piano Phase_ because it was the first Reich work I ever heard. _Different Trains_ is certainly one of the seminal works of the 20th century and one of only a very few holocaust tributes which does it justice.


My very first was Come Out. Imagine that!

For the record, my absolute favorite Reich work is Octet. There is at least one good version of 8 Lines out there, the one with the Modern Ensemble. But the original Octet is still the best.


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## Comus

The first work I heard of Reich's was _Drumming_. God, I find that piece awful and it's like two hours. However, my brother in law showed me this fantastic piece (youtube just has parts three and four):






Fans of Sufjan Stevens be dismayed.


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## kmisho

Comus said:


> The first work I heard of Reich's was _Drumming_. God, I find that piece awful and it's like two hours. However, my brother in law showed me this fantastic piece (youtube just has parts three and four):
> 
> Fans of Sufjan Stevens be dismayed.


I listen to the first movement of Drumming on a regular basis. I can't get enough.


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## Jeremy Marchant

When I was talking to Steve Reich this morning, a number of points came up that have been raised above

(1) the reason he composes pieces in which the performers play against themselves on "tape" originates from his liking for multiple unison canons and, while you can do that with two violins, what do you do with one viola? (His example, not mine.) In fact, what often happens is that a quartet, say, will perform such a piece live with guest players - often local students - and Reich is entirely happy with this approach. It's more alive (my word, not his.)

(2) _Octet _has been withdrawn. He felt the difficulties in the string parts - which had been imposed by the need to keep personnel down in a work that was being toured - were gratuitous, so you can only hear this music in its _Eight lines_ incarnation

(3) _Drumming _admits of perhaps more intepretational freedom than most of his works, apparently (I didn't realise this), so if you don't like one performance, do try others - he recounted that the relatively recent performance in London by Colin Currie's ensemble was excellent

(4) Reich is an admirer of Radiohead and Aphex Twin and went to some length to praise Jonny Greenwood and Richard James. Eg, this performance (I'm afraid only short extracts here) of _Pendulum music_


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## millionrainbows

Listening to Bang on a Can's version of Four Organs. Recorded very well.

This is the older one...the newer is not available on Youtube as of this posting.


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## Albert7

Heard WTC9/11 last month and I really loved it quite a bit. It is a fine memorial to those who were murdered in that tragedy. Also has a darker tone than Different Trains has.


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## adtsang

Apart from "Music for 18 Musicians", "Drumming" is probably my favourite Reich piece. It marks the culmination of the phase technique that he had been developing musically since 1965's "It's Gonna Rain". The piece is never performed the same way twice, allowed not only by the phasing but also by the room for vocal improvisations in Parts 2 and 4.

Original 1971 live recording:


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## violadude

I wonder how many of Reich's pieces begin with DA DA DA DA DA DADA DADA DADA DADA....

On second thought, how many of Reich's pieces are basically just variations on "Music for 18 Musicians"?

I do like Reich's music, so not trying to bash him at all.


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## Nereffid

violadude said:


> I wonder how many of Reich's pieces begin with DA DA DA DA DA DADA DADA DADA DADA....
> 
> On second thought, how many of Reich's pieces are basically just variations on "Music for 18 Musicians"?
> 
> I do like Reich's music, so not trying to bash him at all.


... and did you know that Vivaldi wrote the same concerto 300 times?


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## Avey

violadude said:


> I wonder how many of Reich's pieces begin with DA DA DA DA DA DADA DADA DADA DADA....


Funny, I can hear the precise sound you intend to get across.


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## millionrainbows

violadude said:


> I wonder how many of Reich's pieces begin with DA DA DA DA DA DADA DADA DADA DADA....
> 
> On second thought, how many of Reich's pieces are basically just variations on "Music for 18 Musicians"?
> 
> I do like Reich's music, so not trying to bash him at all.


Well, actually, he is past his "phase" stage, where new voices enter an eighth note behind, or gradually slow down to the next note, etc. "Four Organs" was constructed by changing durations of notes only.


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## gHeadphone

I absolutely love Music for 18 Musicians. It almost puts me in a trace state and i often get goosebumps. There are times when i feel like i am physically floating.

It has a very different effect on me from other music (such as Beethoven Symphonies or Schubert chamber music) so i guess i like it for a different reason.


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## Guest

Nereffid said:


> ... and did you know that Vivaldi wrote the same concerto 300 times?


Hey, if it ain't broke...don't fix it!


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## Guest

gHeadphone said:


> I absolutely love Music for 18 Musicians. It almost puts me in a trace state


It does have that sort of effect! Possibly avoid playing it whilst driving!


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## gHeadphone

dogen said:


> It does have that sort of effect! Possibly avoid playing it whilst driving!


Ha, or operating heavy machinery, or speaking to the wife!!


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## Cosmos

dogen said:


> Hey, if it ain't broke...don't fix it!


you mean if it ain't BAROQUE

*ba dum tiss*

To the topic at hand: I love Reich's music! Music for 18 Musicians, Different Trains, and Proverb are my top favorites at the moment. I can only imagine what it's like to go to a live performance. Not sure if I would like it as much; when I listen to Reich on my iPod, I'm usually on the train or taking a walk


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## PeterFromLA

I've seen Music for 18 Musicians performed in concert twice. It's a huge event and made me appreciate the music far more than the recordings ever did. Reich's music is really enjoyable to watch get performed (I've seen several others of his works live as well). I highly doubt seeing it live would detract from your experience, Cosmos; at least it didn't for me. 

In 2011 I wrote, for another web site, my thoughts after having seen Music for Eighteen Musicians performed live for the first time:

The performance of Music for 18 Musicians on Saturday night (at the Museum of Contemporary Art, by Eighth Blackbird and guests) was an absolute treat, one of the best concerts I've been to.

First, I should point out that this was the first time I've heard the piece performed in concert (after knowing the work for decades); it's quite an event and I wish it was done live more often. What made the performance special, above all, was that the ensemble used the original, modular score (the same approach taken by the composer and his group), rather than the score that has been transcribed from the original ECM recording. The modular score is of indeterminate length, both overall and in its various sections (reminiscent of Riley's In C, whose premiere Reich took part in), and it requires intense collective concentration, especially with respect to the vibraphone player, who rings changes between sections of the piece when he sees fit, but also with respect to the various other 17 players, who at one point or another assume a leadership role with which other players must coordinate their own playing/singing. Watching this coordination between players was fascinating and of endless interest. A conductor would make the work less interesting to watch, I think.

Second, I was struck by how much the work is a summation of earlier Reich pieces, including: Pendulum Music: the way Reich has the vocalists slowly swing the microphone across their mouths, to convey a vocal line's approach and departure, it was a slow motion reminiscence of how he had the microphones swinging in front of loudspeakers in Pendulum Music. The influence of Piano Phase and Six Pianos was heard in, guess what?, the piano parts, but especially the phasing techniques he was having them do. Drumming and Music for Mallets, Voices, and Keyboards were heard in the parts for percussion and the way in which he doubled vocals over percussion parts, whereby the vocalists lend the percussion a different kind of timbre. Reich incorporated innovations from all these works in a marvelous synthesis of technique and poetry.

Third, I was struck by how important key players are: the clarinets and bass clarinets are wonderful in lending the work depth of sound, giving the music both grounding and lift off. The almost scat-style singing vocalists: on recording it sounds like the voices are used here and there, but in performance it's clear that at least one of the four voices are almost always on, and that Reich has two vocal parts going on much of the time, shared among the four singers. Although most of the players are working in different kinds of phasing, some of the musicians are working in cross rhythm, typically playing against the patterns the majority of the ensemble is producing, in particular one of the xylophonists and one of the pianists. That cross play was great to observe.

Finally, I was struck by how joyous and emotional the work can be. It was a true wonder to see how a work that is so abstract and without inherent meaning could communicate such a powerful vision of ecstasy and joy. I won't forget this concert, ever. The concert was sold out; it was so popular that the museum added a second performance, which I unfortunately could not attend.


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## Nereffid

PeterFromLA said:


> Finally, I was struck by how joyous and emotional the work can be. It was a true wonder to see how a work that is so abstract and without inherent meaning could communicate such a powerful vision of ecstasy and joy.


This.
I saw it performed in Dublin earlier this year and it was glorious.


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## gHeadphone

Nereffid said:


> This.
> I saw it performed in Dublin earlier this year and it was glorious.


In Dublin? Where was this, i cant believe i missed it!


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## Nereffid

gHeadphone said:


> In Dublin? Where was this, i cant believe i missed it!


It was in March - Crash Ensemble and Bang On A Can All-Stars at the NCH, part of the new-music festival (yeah, I know _Music for 18 Musicians_ is nearly 40 years old now...).


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## Steatopygous

Couchie said:


> I have a soft spot for _Piano Phase_ because it was the first Reich work I ever heard. _Different Trains_ is certainly one of the seminal works of the 20th century and one of only a very few holocaust tributes which does it justice.


Probably two of my favourite Reich pieces, and he is my favourite minimalist, depending on how you define Arvo Part and John Adams.


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## PeterFromLA

Live performances of the three string quartets. The composer introduces the pieces at the recital's outset: http://www.wqxr.org/#!/story/230826-listen-steve-reichs-complete-quartets/


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## Funny

gHeadphone said:


> I absolutely love Music for 18 Musicians. It almost puts me in a trace state and i often get goosebumps. There are times when i feel like i am physically floating.
> 
> It has a very different effect on me from other music (such as Beethoven Symphonies or Schubert chamber music) so i guess i like it for a different reason.


I do love Four Organs for the simple purity of its conceit, but yeah, you hit on it, there's just something about Music for 18 Musicians that takes me to a place no other music seems to do. Jealous of those who have seen it live.


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## Klassic

I know he's big in the minimalist movement, but this fella is not my cup of tea. I have nothing negative to say about him, just not to my taste.


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## brotagonist

I used to listen to his music a bit some decades ago. I know I had Different Trains on LP and perhaps another one or two.


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## PeterFromLA

[Posted link has been removed. Disregard.]


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## starthrower

If his stuff was on 45s, it would be ideal. I can enjoy a bit of Tehillim. I'm a Pat Metheny fan, and I can hear Reich's influence on some of Pat's rhythms.


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## Nereffid

Tomorrow (Monday October 3rd) Q2 Music is having a Reich marathon to celebrate his 80th birthday.
http://www.wqxr.org/#!/story/steve-reich-80-24-hour-marathon/
In a 12-hour show, they'll be playing his works (not all of them!) in chronological order.


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## millionrainbows

Minimalism, and Reich, as all classical music, is seeking the highest possible ground. Minimalism wants us to focus, and in this focus, we get closer to our core being, and our connection to the sacred within us. In this sense, it is music to the glory of God, just as Bach's was.

If you do not like minimalism, there is something wrong with you. You are out of touch with your being. You are a "floating ego" with no connection to the ground of sacred being.

It's time to get on board the Gospel Train, headed East. All aboooooaard!!! Dr. Phil will be joining us shortly, along with the United States Marine Band, conducted by John Williams.


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## isorhythm

millionrainbows said:


> If you do not like minimalism, there is something wrong with you. You are out of touch with your being. You are a "floating ego" with no connection to the ground of sacred being..


Is this just supposed to be provocative?


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## millionrainbows

isorhythm said:


> Is this just supposed to be provocative?


Yes. It's supposed to be an ironic reversal as well; it's like Minimalism and the Eastern paradigm rolling thru our land, creating a "Bible Belt" that goes right thru Dallas, Texas, and has powerful people like Oprah Winfrey funding it. Funny, huh? Ha ha ha ha ha ha ha….Get on board, brother, or you will be cast out!!


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## jenspen

I just heard a podcast to celebrate Steve Reich's 80th birthday - a re-broadcast of an interview he gave to ABCClassicFM a while back. Though I am not at all familiar with his music, and have nothing useful to add to the thread, I thought his performance as an interview subject was first-rate and somebody might enjoy it:

http://www.abc.net.au/classic/content/2016/10/03/4546475.htm


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## isorhythm

millionrainbows said:


> Yes. It's supposed to be an ironic reversal as well; it's like Minimalism and the Eastern paradigm rolling thru our land, creating a "Bible Belt" that goes right thru Dallas, Texas, and has powerful people like Oprah Winfrey funding it. Funny, huh? Ha ha ha ha ha ha ha….Get on board, brother, or you will be cast out!!


We don't do well with this stuff in America, as you may have noticed. We turn it into garish consumerist New Age swill. Pass.

Reich, unlike his peers, has never shown any sign of being interested in Buddhism or anything "eastern," btw. He is an observant Jew.


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## Pugg

jenspen said:


> I just heard a podcast to celebrate Steve Reich's 80th birthday - a re-broadcast of an interview he gave to ABCClassicFM a while back. Though I am not at all familiar with his music, and have nothing useful to add to the thread, I thought his performance as an interview subject was first-rate and somebody might enjoy it:
> 
> http://www.abc.net.au/classic/content/2016/10/03/4546475.htm


That is very nice of you, thank you.


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## millionrainbows

isorhythm said:


> We don't do well with this stuff in America, as you may have noticed. We turn it into garish consumerist New Age swill.


Who does, you atheists? You do that to every religion, so you will never get my jokes.



> Reich, unlike his peers, has never shown any sign of being interested in Buddhism or anything "eastern," btw. He is an observant Jew.


That is a very misleading statement, as he went to Africa and studied drumming. His musical influences are certainly not predominantly Judeo-Christian, as you try to infer.

Also, Reich, Riley, and Glass were all "hippies," and that subculture was greatly influenced by Eastern approaches.


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## millionrainbows

isorhythm said:


> Is this just supposed to be provocative?


No, it was a joke. The provocative part you'll have to deal with.


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## isorhythm

millionrainbows said:


> Also, Reich, Riley, and Glass were all "hippies," and that subculture was greatly influenced by Eastern approaches.


Eh, from what I've read Riley was the only real hippie in that group. I don't know if Reich and Glass even did drugs.


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## millionrainbows

isorhythm said:


> Eh, from what I've read Riley was the only real hippie in that group. I don't know if Reich and Glass even did drugs.


They were all part of the bohemian/art underground in New York. I do not define hippies simply as "drug takers" as you have so disrespectfully done.


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## isorhythm

millionrainbows said:


> They were all part of the bohemian/art underground in New York. I do not define hippies simply as "drug takers" as you have so disrespectfully done.


I didn't mean it disrespectfully, I have nothing against drugs in general. I just think of New York bohemians from that time as being separate from California hippies like Riley.


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## millionrainbows

isorhythm said:


> I didn't mean it disrespectfully, I have nothing against drugs in general. I just think of New York bohemians from that time as being separate from California hippies like Riley.


Riley was before Glass and Reich, actually; he was in with Lamont Young. Whether or not he once resided, or now resides in California is irrelevant to his seminal activities as a minimalist. And, BTW, Riley was an "atheist" in the sense that he is a non-deistic Buddhist. I thought you'd like that. I try to do at least one good deed for an atheist every day.


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## isorhythm

millionrainbows said:


> Riley was before Glass and Reich, actually; he was in with Lamont Young. Whether or not he once resided, or now resides in California is irrelevant to his seminal activities as a minimalist. And, BTW, Riley was an "atheist" in the sense that he is a non-deistic Buddhist. I thought you'd like that. I try to do at least one good deed for an atheist every day.


You're mixing me up with other people, I'm not an atheist.


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## PeterFromLA

"Reich, unlike his peers, has never shown any sign of being interested in Buddhism or anything "eastern," btw. He is an observant Jew."

Actually, Reich's musical aesthetic is very much influenced by his involvement with yoga. It's completely inaccurate to say he's not influenced by Eastern philosophy or practice, therefore.

From the NY Times, earlier this week:

_When he was asked in a 1970 interview about this apparently mechanical aspect of his music, Mr. Reich responded with an unexpected analogy. "I think there's a human activity which might be called 'imitating machines,'" he said, "but which is simply controlling your mind and body very carefully as in yoga breathing exercises, or in playing my phase pieces."

His yoga practice was, in part, a sign of the times: His fellow Minimalist innovator Philip Glass found a yoga teacher by looking under "Y" in the phone book. For Mr. Reich, yoga practice was interconnected with performance practice, and he reflected this in unpublished essays like "Personal Observations Towards a Yoga of Performing Music."

With these analogies to yoga, the notion of "pulse music" acquired new meaning, as Mr. Reich's music of the '70s began to evoke and incorporate the pulsing of bodies rather than those of machines. By 1971, his yoga practice had spurred a new pulse-based composition: "While doing yoga this morning," he wrote in his sketchbook, "I thought of a piece where a huge drum would pulse at about the same rate as heart beat - 60-72 and low wind or brass instruments would play long slow tones for a full breath so that the analogy of breathing + heartbeat would be clear."_

http://www.nytimes.com/2016/10/02/arts/music/steve-reich-at-80-still-plugged-in-still-plugging-away.html?_r=0

A piece like Music for 18 Musicians is a deeply corporeal music, for both listeners and performers, in a way that "traditional" western concert music simply isn't. This is the influence of the East (and Global South as well).


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## isorhythm

^Well, this is what I get for not doing my reading! Thanks for setting me straight.


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## jailhouse

just bumping this thread because I love Reich. Going to two free concerts at NYU-Steinhardt in the coming few weeks. They're doing music for 18 and then Tehillim. Never seen any Reich works live so hopefully they do them well.


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## millionrainbows

I just re-listened to Tilson-Thomas/Ralph Grierson's great recording which included Four Organs. Inside are Reich's own liner notes, and in it he expresses a decidedly Eastern view of how his music can be experienced. This is good listening and good reading, highly recommended.


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## Casebearer

Interesting reading stuff, especially from PeterFromLA, as I'll be enjoying - I hope - Music for 18 Musicians live in concert tomorrow evening. Apart from the pulse/overlapping rhythms in the piece I must say I like the soundscape created by all the vibraphones, marimba's and (bass) clarinets a lot.


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## Casebearer

I went to the concert tonight and, although I've come to dislike the word, it's an 'experience' I'll never forget. Really out of this world. In concert the sound and experience is so much more overwhelming than when listening at home. After one hour and the quite sudden ending of the piece all of the audience was in deep silence. It took a minute or so to get our stuff together as an audience and thank the performers by applauding.


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## Casebearer

jenspen said:


> I just heard a podcast to celebrate Steve Reich's 80th birthday - a re-broadcast of an interview he gave to ABCClassicFM a while back. Though I am not at all familiar with his music, and have nothing useful to add to the thread, I thought his performance as an interview subject was first-rate and somebody might enjoy it:
> 
> http://www.abc.net.au/classic/content/2016/10/03/4546475.htm


Thanks very much. This is a really interesting podcast where Reich gives his views on the way classical music (and jazz) developed with many details and illustrations. Absolutely worthwhile to listen too.


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## jailhouse

Casebearer said:


> I went to the concert tonight and, although I've come to dislike the word, it's an 'experience' I'll never forget. Really out of this world. In concert the sound and experience is so much more overwhelming than when listening at home. After one hour and the quite sudden ending of the piece all of the audience was in deep silence. It took a minute or so to get our stuff together as an audience and thank the performers by applauding.


Sudden ending? Slowly winding down through 11 chord changes with an incredibly long diminuendo of a lone violin at the end is not what I'd call sudden. It's actually rather drawn out, lol


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## jegreenwood

First of all, I like much of Steve Reich's music.

Nevertheless - I had an MRI today. It lasted about 45 minutes during which, through the earplugs and the headphones, I could still easily hear the machine making a range of pulsing sounds during the various scans. Well, once one adjusts to the situation and knowing one was not supposed to move, one's mind begins to wander. It did not take long for me to start treating each new scan as the beginning of another Reich piece.

Before I knew it, I was done.


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## millionrainbows

I suppose we should be thankful that you did not equate Reich with going to the dentist's.


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## PeterFromLA

I'm being dazzled at the moment by the delightful streaming of an all-Reich concert from 1970, done to commemorate the opening of the Berkeley Museum of Art. The program includes Piano Phase, Four Organs, Phase Patterns, and My Name is. The last I'd never heard before, it is very cool. It uses the names of audience members to create a phase piece analogous to Come Out, though not as intricate or layered.

https://archive.org/details/ReichBerkeleyMuseum

The entire Open Minds archive, hosted by Charles Amirkhanian, which represents the ongoing cataloging of KPFA's coverage of the new music scene in the Bay Area during the second part of the 20th century, is a must rummage through for all new music aficionados, by the way. Check it out.

https://archive.org/details/other_minds


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## PeterFromLA

This video interview with Steve Reich was interesting, especially because Reich suggests that his early tape pieces (It's Gonna Rain and Come Out) were produced under the influence of two other voice/electronic pieces: Berio's Omaggio a Joyce and Stockhausen's Gesang der Jünglinge. Berio was writing the former when Reich was studying with him and Berio exposed Reich to a recording of the latter. In hearing these pieces, Reich came to realize the importance of working with the recorded human voice as the basis for new composition.

See


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## SanAntone

I've found Steve Reich's late works to have evolved nicely:

*Steve Reich* - _Traveler's Prayer _(2020)






Colin Currie Group with Synergy Vocals


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