Stephen Michael Reich (born October 3, 1936 in New York City) is an America… Read Full Bio ↴Stephen Michael Reich (born October 3, 1936 in New York City) is an American composer. He is a pioneer of minimalism, although his music has increasingly deviated from a purely minimalist style. Reich's innovations include using tape loops to create phasing patterns (examples are his early compositions, "It's Gonna Rain" and "Come Out"), and the use of processes to create and explore musical concepts (for instance, "Pendulum Music" and ""Four Organs"). These compositions, marked by their use of repetitive figures and phasing effects, have significantly influenced contemporary music, especially that of his country.
The Guardian has described Reich as one of the few composers to have "altered the direction of musical history."
Reich often cites Pérotin, J.S. Bach, Debussy and Stravinsky as composers he admires, whose tradition he wished as a young composer to become part of. Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalists Ella Fitzgerald and Alfred Deller, whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works. John Coltrane's style, which Reich has described as "playing a lot of notes to very few harmonies", also had an impact; of particular interest was the album "Africa/Brass", which "was basically a half-an-hour in F." Reich's influence from jazz includes its roots, also, from the West African music he studied in his readings and visit to Ghana. Other important influences are Kenny Clarke and Miles Davis, and visual artist friends such as Sol Lewitt and Richard Serra.
Reich's music is published by Boosey & Hawkes Music Publishing, www.boosey.com/reich.
Steve Reich won the Polar prize in 2007.
The Guardian has described Reich as one of the few composers to have "altered the direction of musical history."
Reich often cites Pérotin, J.S. Bach, Debussy and Stravinsky as composers he admires, whose tradition he wished as a young composer to become part of. Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalists Ella Fitzgerald and Alfred Deller, whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works. John Coltrane's style, which Reich has described as "playing a lot of notes to very few harmonies", also had an impact; of particular interest was the album "Africa/Brass", which "was basically a half-an-hour in F." Reich's influence from jazz includes its roots, also, from the West African music he studied in his readings and visit to Ghana. Other important influences are Kenny Clarke and Miles Davis, and visual artist friends such as Sol Lewitt and Richard Serra.
Reich's music is published by Boosey & Hawkes Music Publishing, www.boosey.com/reich.
Steve Reich won the Polar prize in 2007.
Piano Phase
Steve Reich Lyrics
We have lyrics for these tracks by Steve Reich:
Drumming: Part III This text was withdrawn at the request of its author…
It's Gonna Rain He began to warn the people. He said: "After a…
Its Gonna Rain He began to warn the people. He said: "After a…
It’s Gonna Rain/ 1965 He began to warn the people. He said: "After a…
Proverb How small a thought it takes to fill a whole…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Peer189
+breakk44 Wenn Du das für dich so siehst ist das eben deine Meinung.
Es ist allerdings eher fragwürdig, ob man diese mit dem beleidigendem Statement: "Das ist keine Kunst sondern degenerierter Müll" "kund tun" muss. ;-).
Ich z. B. höre fast alle Stücke von Steve Reich sehr gerne und finde auch dieses sehr schön". Für mich ist das schon "Kunst" (obwohl das ja egal ist, ob es "Kunst" ist). Wenn es jemandem gefällt ist das doch vollkommen ausreichend. Ich denke das man die unterschiedlichen Geschmäcker tolerieren und respektieren sollte.
Ich kann es auch überhaupt nicht nachvollziehen, wenn Menschen deutsche Volksmusik oder Musik von "Modern Talking" hören. ;-)
Dennoch "toleriere" ich das und lasse ihnen ihren Spaß damit und kritisiere nicht die ganze Zeit aufgebracht beleidigend daran herum wenn sie das hören. Die Leute in Köln hatten das Konzert vorher gebucht und gelesen, was gespielt wird. Sie wussten also auf was sie sich da einlassen.
Man hätte den Konzertsaal auch niveauvoll still schweigend verlassen können ohne das Konzert für die anderen Hörer, die das gerne hören möchten, rücksichtslos kaputt zumachen.
Bei Schostakowitschs 8. Symphonie z. B. geht das ja auch.
Diese Symphonie ist von der Dynamik und der Lautstärke her sehr anstrengend.
Als diese im Konzertsaal gespielt wurde, gingen die Leute reihenweise aus dem Saal - aber eben leise ohne das Konzert rücksichtslos zu stören !
Es geht also auch anders und "gesitteter" ;-).
Lukas Huisman
I made a new recording of a very similar piece, this time for violin and piano by a Japanese composer. Check it out! https://youtu.be/uT6fdK2CERI
Takuya Imahori
You wrote "a Japanese composer" without his/her name. So you lost chances that someone know the information about the piece and composer’s name with your recording...
Lukas Huisman
@Takuya Imahori unless you click the link ;)
NEW ATLANTIS
no thank you, i'm happy with this one !
Yizak
How can anyone possibly have that sense of timing?!
Yizak
***** Yes. Absolutely it is theoretically possible that the two players' timi ng are offset by a constant amount throughout the performance, and it does sound that way at least to me. Very impressive.
Kevin Miller
For live performances the strategy is for both artists to play the exact same tempo but add an extra note here and there to gradually separate the two phases. Steve Reich started these experiments with taped recordings, so it wasn't even an issue until he started trying to compose for live audiences.
Yizak
Kevin Miller Oh wow. I couldn't even pick out the extra notes.
Thanks for the info.
Jim Jarnagin
If I remember correctly, the instructions in the score are for one player to gradually increase the tempo until they arrive at a point one eighth note ahead of the other player and then let things 'settle down' for a while before moving on. This is what causes the 'fuzzy areas' where you can hear two different pulses which finally settles into what sounds like a new pattern.
...no need for any extra note insertions; the effect of that would be totally different.
Yizak
Jim Jarnagin Yeah I have to admit it doesn't sound as though extra notes are being used on either pianist's part.
So what I meant to say in my first comment is that the timing is offset by a changing amount