Reich

The hook for this terrific recording of three of Steve Reich's most attractive works is the use of alternate versions of the several pieces that differ from the original recordings on Nonesuch. This recording has Reich's imprimatur; he enthusiastically recommends the performances in a program note. The most radical departure from the original version is Piano Counterpoint, Vincent Corver's arrangement of Six Pianos for a single live pianist with the other five parts prerecorded. This allows the piece to fit nicely into Reich's "Counterpoint" series, which includes Vermont Counterpoint for flutes and New York Counterpoint for clarinets. Corver also speeds up the tempo so the piece has an even more propulsive aural energy, although in live performance it's hard to beat the visceral excitement of six pianists on-stage. The London Steve Reich Ensemble version of the Triple Quartet, unlike the Kronos Quartet's premiere recording, uses three live quartets, and is one of three performance options that Reich specified in the score, the third being an orchestral version with 36 players. This is the first commercial recording of this version.

The beauty of Steve Reich's minimalist compositions can be found not in their repetition but in their evolution. Listening to the Kronos Quartet perform Different Trains, the listener quickly gets over the camp value of the conductor samples to discover an unfolding theme that harks back not only to bustling industrialism but also to the horror of the Nazi concentration-camp trains. Reich is a master of such subtle changes in sonics, and his impeccable timing turns simple phrases into musical tapestries. On Reich Remixed, some of dance music's more innovative artists pay homage to the composer in the way they know best: by sampling his works and remixing them into their own.

All three of the Steve Reich string quartets here were composed for the Kronos Quartet, which has been strongly identified with them. However, several things may be said in favor of this 2023 release by the Mivos Quartet. The first and most important is that this is the first recording of all three Reich quartets together, and it is quite interesting to hear them this way. Reich said for many years that he could not imagine himself writing a string quartet, and the repetition-based structure of his music seemed incompatible with the medium. His solution, precipitated by his juxtaposition of his own childhood train journeys with recollections of Holocaust survivors on trains to concentration camps, was applied first in Different Trains (1988); the string quartet here acts as a discrete unit, introducing and commenting on taped voices.

As more ensembles perform and record Steve Reich's Music for 18 Musicians, its status as a minimalist masterpiece is increasingly affirmed. Ensemble Signal's 2015 release on Harmonia Mundi is one of several amazing performances that have matched Reich's original ECM New Series recording in technical brilliance and expressivity, and it has even earned the composer's approval for being, "…fast moving, spot on, and emotionally charged." Under the direction of Brad Lubman, Ensemble Signal maintains a relentlessly steady pulse and articulates the interlocking patterns with absolute precision, though the shifting tone colors are perhaps a little clearer in this performance than in other recordings. The microphone placement is not so close that individual instruments stand out, but there is enough separation of parts to allow some sense of direction and the orientation of the smaller sub-groups of pianos, xylophones, marimbas, strings, clarinets, and voices. This is a mesmerizing performance that will transfix listeners, and the music is so compelling that it will linger on well after the CD stops. Highly recommended.

If Steve Reich's Music for 18 Musicians is simply described in terms of its materials and organization – 11 chords followed by 11 pieces built on those chords – then it might seem utterly dry and monotonous. The actual music, though, is far from lackluster. When this recording was released in 1978, the impact on the new music scene was immediate and overwhelming. Anyone who saw potential in minimalism and had hoped for a major breakthrough piece found it here. The beauty of its pulsing added-note harmonies and the sustained power and precision of the performance were the music's salient features; and instead of the sterile, electronic sound usually associated with minimalism, the music's warm resonance was a welcome change. Yet repeated listening brought out a subtle and important shift in Reich's conception: the patterns were no longer static repetitions moving in and out of phase with each other, but were now flexible units that grew organically and changed incrementally over the course of the work.