Steve Reich

Consumer Reports

This entry is part 6 of 19 in the series Con­sumer Reports

This entry is part 6 of 19 in the series Con­sumer Reports­Be­cause it’s the time of year you should also spend some money on your­self, here’s another Con­sumer Reports … Theodor Cur­rentzis’ excel­lent, refresh­ing record­ing of Le Nozze di Figaro has a spot on my top clas­si­cal record­ings for 2014, and if that inter­ests you(…)

Colin Currie talks about Steve Reich’s new piece, Quartet. It…

Colin Cur­rie talks about Steve Reich’s new piece, Quar­tet. It came to Amer­ica for the first time Wednes­day night, here’s what it was like.


This entry is part 14 of 19 in the series Con­sumer Reports

This entry is part 14 of 19 in the series Con­sumer ReportsHit­ting my inbox this morn­ing was an excit­ing sur­prise: the tracks for the newest Steve Reich record­ing, release date Sep­tem­ber 30. New music and older music newly done. The meat is the recorded pre­miere of his new piece, Radio Rewrite, and strong syn­the­sis of the(…)

Steve Reich is 77 Years Old Today

You can expe­ri­ence more of him scratch­ing his prog-rock itch at Alarm Will Sound’s all Reich con­cert, Novem­ber 16.

Finding Something Out In The Night

(Cross-posted from my Gala­pa­gos Critic-in-Residence page) Some­times what mat­ters most about a musi­cal per­for­mance is not the tunes and the play­ing, but how things have come about, and how they could have. This must seem vague, so bear with me a bit. The two per­for­mances I saw at Gala­pa­gos in May, per­cus­sion­ist Kuniko Kato play­ing her(…)

October Light Playlist

Wolf­gang Mit­terer, Music for Check­ing e-mails Alvin Lucier, Almost New York; There are some lovely drone/tuning pieces on here from Lucier. “Twon­ings” sets cello against piano, the stringed instru­ment at times match­ing the piano note while at oth­ers the cel­list plays a sharp or flat micro­tone, set­ting up Lucier’s char­ac­ter­is­tic sonic beat­ing. Hav­ing two live musi­cians playing,(…)

Musical Misremembrance & 9/11

Basinski’s piece is an acci­den­tal one, the sound pro­duced from the process of old mag­netic tapes lit­er­ally falling apart on each pass by the play head on a tape recorder. The com­poser says the project ended on the morn­ing of 9/11. It’s a piece about phys­i­cal decay, dis­si­pa­tion, the loss of records and mem­o­ries. Ten years later, that’s what we have left.

Bitch Slap

This clever edit of an Angie Dickinson/Lee Mar­vin movie clip with the audio of Steve Reich’s Clap­ping Music is mak­ing the rounds on the inter­tubes this morn­ing, and it’s well done: The video itself comes from this scene from “Point Blank,” directed by John Boor­man, which is a ter­rific thriller/crime/revenge drama, with more than a little(…)

2010 Top 10

Of all the music, of all kinds, released this year, these are my favorites, in alpha­bet­i­cal order: Die Zauber­flöte, Mozart — René Jacobs, con­duc­tor, Akademie Für Alte Musik Berlin, RIAS Kam­mer­chor; Daniel Behle, Marlis Petersen, Dainiel Schmutzhard, Sun­hae Im, Anna-Kristiina Kaap­pola, Mar­cos Fink René Jacobs has fin­ished his series of record­ings of the mature Mozart operas with(…)

Baby Playlist, #3

Philip Glass: Orpheé; Port­land Opera, Anne Man­son This will cer­tainly please fans of Glass, and is a fas­ci­nat­ing exam­ple of how his late style is devel­op­ing. Like La Belle et la Bête, this is an oper­atic adap­ta­tion of an acci­den­tal libretto, i.e. the script from a Cocteau movie. It suf­fers from the same prob­lem­atic detail,(…)