The second ECM Reich LP. Three pieces representing three different scales of ensemble. Music for a Large Ensemble (1978), Side A, is Reich’s first major work for genuinely orchestral forces (mallet instruments, brass, strings, voice, around thirty players), a step toward the chamber-orchestra writing that would define the eighties Reich. Octet (1979), Side B opener, scored for two pianos, string quartet, two clarinets and two flutes: more contrapuntal and chamber-music-like than its predecessors. Violin Phase (1967), Side B closer, Shem Guibbory plays all four violin parts (three pre-recorded against one live), the canonical recording of one of the early phase pieces.
Recorded August 1979 at Tonstudio Bauer, Ludwigsburg, the same West German facility ECM…
Tag Archive: Steve Reich
The piece in which Reich turned to his Jewish heritage. Tehillim (Hebrew for “Psalms”) sets four psalm-fragments (19:2-5, 34:13-15, 18:26-27, 150:4-6) for four high voices and chamber ensemble, in a setting where for the first time in Reich’s mature work the text drives the rhythmic structure rather than being fitted into a pre-existing pattern. The vocal writing draws on Hebrew cantillation Reich studied with Cantor Edward Berman in New York; the percussion is tuned tambourines without jingles, clapping, maracas, marimba, vibraphone, crotales.
Recorded September-October 1981 at Tonstudio Bauer in Ludwigsburg, engineer Martin Wieland, produced by Manfred Eicher. George Manahan conducts. Sopranos Pamela Wood…
In Steve Reich’s music, repetition is a method of survival. A phrase returns carrying the microscopic damage of having been heard, while attention acquires an unfamiliar capacity for desire. Recordings on ECM brings that reciprocal transformation back to vinyl, gathering the three albums ECM released between 1978 and 1982. Revisiting the collection issued on CD in 2016, this three-LP edition, one day shy of the composer’s 90th birthday.
Sourced from the original analogue master tapes, the records reproduce their original sleeves; archival photographs accompany Paul Griffiths’s liner notes. Inside the music, strict procedures open improbable apertures, and counting becomes a form of surrender.
The Colin Currie Group formed 20 years ago to honour Steve Reich’s 70th birthday with a performance of Drumming. This year, the great American composer turns 90, making this, the group’s fourth Reich album on Currie’s own label, a double celebration.
Sextet, hailing from 1985, features two keyboardists playing piano and synthesisers alongside four percussionists on marimbas, vibraphones, bass drums, crotales, sticks and tam-tams. Shifting patterns interlock with the precision of a Swiss watch across one of the composer’s typical fast, slow, fast, slow, fast arcs. Currie’s recording flickers with subtle nuances with a naturalistic sound less closely mic’d than in Reich’s own classic accounts.
Joe Hisaishi Conducts… documents a concert given at Tokyo’s Suntory Hall on 31 July 2024. There Hisaishi performed his own ‘The End of the World’ suite in a version as well as his friend and colleague Steve Reich’s ‘The Desert Music’.
Inspired by a visit to New York City in 2007, Hisaishi composed ‘The End of the World’ as a three-movement suite that explores the chaos resulting from the collapse of global order in the aftermath of 9/11. By 2015, Hisaishi had transformed the suite into a five-movement work. Reich’s ‘Desert Music’ was inspired by three American deserts with historical and personal significance.
For the concert, Hisaishi was joined by Future Orchestra Classics, an orchestra of young…
Three months ago, Nonesuch brought out an updated version of its superbly comprehensive survey of Steve Reich’s collected works. The 27 discs included the first recordings of Reich’s most recent scores, Traveler’s Prayer and Jacob’s Ladder, and now, for those who already owned the set from its previous incarnation, it has released those two works together on their own. Both pieces were composed during the Covid lockdown, and are scored for four singers and an instrumental ensemble; in both cases, too, they have Hebrew texts taken from the Old Testament.
In almost every other respect, though, the two pieces are very different. Traveler’s Prayer, first performed in 2021, is meditative and static, floating, almost ritualised.
Nonesuch Records releases Steve Reich Collected Works, a twenty-seven-disc box set featuring music recorded during composer Steve Reich’s forty years on the label, on March 14, 2025, available to pre-order here.
The collection represents six decades of Reich’s compositions, ranging from It’s Gonna Rain (1965) to first recordings of his two latest works: Jacob’s Ladder (2023) and Traveler’s Prayer (2020). Two extensive booklets contain new essays by longtime Nonesuch President Robert Hurwitz, conductor Michael Tilson Thomas, Steve Reich and Musicians percussionist Russell Hartenberger, producer Judith Sherman, and composer Nico Muhly, as well as a comprehensive listener’s guide by pianist and composer Timo Andres.