Works 1965-1995 - Steve Reich

Advantages: A stunning soundworld
Disadvantages: It is a long work

...Steve Reich has often said that writing for the orchestra was difficult. This is in part to difficult personal times but also aestetically it hindered the rhythmic agility that his music requires. However, despite reservations by many about his orchestral works (they are often considered his weaker works) I find myself continually fascinated by what he makes the orchestra do. The Desert Music is music on an epic scale featuring huge sweeping textures and turbulent chorales set to text by Wittgenstein (whom steve studied during his philosophy major). The piece lasts some 48 minutes and is sectioned into contrasting moods and tempi. The very opening and closing movements are like giant pulsating waves that literally crash down over you, it truely is an amazing feeling. The orchestra pulsates to steady quavers as the harmony morphs slowly... Read review

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Advantages: Flawless recording, excellent booklet
Disadvantages: Probably too long to listen to in a single sitting, requires full attention

...Recorded in 1997, this is the 20th anniversary recording of 'Music for 18 Musicians' ('18') made by Steve Reich and Musicians, following the original landmark 1978 release. For those that are unfamiliar with his work, Reich has been hailed at various times as the godfather of minimalism and the pioneer of remixing and sampling. While his technique of 'phasing' - repeating loops of live or recorded sounds gradually played at slightly different speeds to create a pattern of unpredictable rhythms - was refined to perfection in 1971s 'Drumming', '18' represents his seminal work of 'pulse' music. Slowly evolving harmonic, rhythmic and melodic phrases are played over a constant pulse (here, played on marimba). The influence of '18' has never been more apparent - its echoes are everywhere in popular culture and music: dance, techno... Read review

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Advantages: Beautiful melodies
Disadvantages: Only 30 minute CD

...of my favourite parts of this work are in fact the instrumental sections where the full ensemble are groovin' along, maracas shaking joyously, rhythmic patterns being smashed out on the drums whilst the winds and strings sing the beautiful melodies. And this is perhaps the defining reason why this piece is so good. The melodies. Reich has always been good and writing patterns that no matter how often you hear still sound fresh and exciting. The melodies in Tehillim are longer and more melody-like and are perhaps some of the finest ideas he has ever written. Take for example the entry of the voices in the second section after the brief instrumental secion. Can melody be any better than this? If you have no tingle here or at the end where the whole ensemble shake and shiver to praises of Hallelujah then i really doubt you are human at all... Read review

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