| | Reich: Music For 18 Musicians CD Reich, Steve CDS
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Reich: Music For 18 Musicians Music | List Price | $16.98 (You save $3.93) | | Label | Nonesuch | | Orig Year | 3/31/1998 | | All Time Sales Rank |  704  | | CD Universe Part number | 1242954 | | Catalog number | 79448 | | Discs | 1 | | Release Date | Mar 31, 1998 | | Recording Time | 1 8 |
Reich: Music For 18 Musicians Music Reich: Music For 18 Musicians Classical Review Reich: Music For 18 Musicians Songs Reich: Music For 18 Musicians Music Composers on Reich: Music For 18 Musicians CD : Steve Reich Performers on Reich: Music For 18 Musicians CD : Rebecca Armstrong, Bob Becker [Percussion], Cheryl Bensman, Phillip Bush, Jay Clayton, Elizabeth Lim, Russ Hartenberger, Garry Kvistad, Jeanne LeBlanc, Marion Beckenstein, Edmund Niemann, James Preiss, Steve Reich, Leslie Scott, Thad Wheeler, Nurit Tilles, Timothy Ferchen, Evan Ziporyn Purchase Reich: Music For 18 Musicians To buy, Click on price to add to cart | Rainbow In Curved Air / Terry Riley CD (1967)
Reich: Music For 18 Musicians
 $9.45   
After several graph compositions and early pattern pieces with jazz ensembles in the late '50s and early '60s (see "Concert for Two Pianists and Tape Recorders" and "Ear Piece" in La Monte Young's book An Anthology), Riley invented a whole new music which has since gone under many names (minimal music -- a category often applied to sustained pieces as well -- pattern music, phase music, etc.) which is set forth in its purest form in the famous "In C" (1964) (for saxophone and ensemble, CBS MK 7178). "Rainbow in Curved Air" demonstrates the straightforward pattern technique ...
| | Reich: Different Trains; Electric Counterpoint / Pat Metheny, Kronos Quartet CD (1990)
Reich: Music For 18 Musicians
$12.99 
This late-'80s work finds the minimalist composer mixing acoustic and taped material to great effect. The disc's centerpiece is "Different Trains," a work that frames Reich's impressions of his boyhood train trips between his mother in Los Angeles and his father in New York; Reich also intersperses references to the much more harrowing train rides Jews were forced to take to Nazi concentration camps. Using the fine playing of the Kronos Quartet as a base, Reich layers the work with the taped train musings of his governess, a retired Pullman porter, and various Holocaust survivors -- vintage train sounds from the '30s and '40s add to the riveting arrangement. And for some nice contrast, ...
| | Steve Reich Four Sections/Music For Mallet Instruments, Voices And Organ CD (1991)
Reich: Music For 18 Musicians
$14.35
These two long pieces may be Reich's least ambitious music, but they're easy to make an acquaintance with -- unlike Drumming and Tehillim. The Four Sections is performed by the London Symphony Orchestra with Reich's percussion ensemble, and yet manages to project more personality than the ensemble alone does on Music for Mallet Instruments, Voices and Organ. The Four Sections is plain enjoyable. Under Michael Tilson Thomas' baton, the melodic patterns are pleasing, while the woodwinds and strings maintain the same bright, sharp momentum as the ensemble. Like Roy Lichtenstein's cover art, the title refers to the sections of the orchestra, with each section granted its own entrance and brief solo moments. You could even whistle some of it, but probably won't unless you can provide your own drone. Side two is where the lack of ambition isn't quite enough. The percussion and chanted ...
| | Lubman Reich: New York Counterpoint, Etc / Bang On A Can CD (2000)
Reich: Music For 18 Musicians
$13.19
This is a record that serves two purposes: first to offer a retrospective of Steve Reich's work over the course of three decades and second to showcase the strength and virtuosity of New York's contemporary ensemble Bang on a Can. Both are extraordinary. The disc opens with Reich's "New York Counterpoint" (1985), scored for clarinet and recording tape. The score indicates that the performer is to lay down 11 tracks and perform live over them in performance. The modern recording process generally running along these lines anyway, a recording of said work is not so novel. The music, however, is exquisitely performed and has a sweetness of sound uncommon to Reich's work -- at the same time manic and busy -- very jazz-inflected and swinging. Reich's "Eight Lines" (1983) follows, being a revision of 1979's "Octet." One of the most complex and fascinating works in his catalog, "Eight Lines" -- scored for two pianos, two string quartets, flute, piccolo, and clarinets -- weaves a dense fabric of music where melodies emerge, interlock, and sing. Its 5/4 time signature resists mental subdivision, making the composition appear seamless from beginning to end. Based on Jewish sounds of cantillation, this piece builds melodies one note at a time, making the listener hear a melody emerge that they have actually been listening to for some time; a remarkable work. The disc closes with "Four Organs" (1970), a 16-minute piece comprised of one chord. Interesting on its own merits ...
| | Mum Finally We Are No One CD (2002)
Reich: Music For 18 Musicians
$13.15 
Múm's first album for Fat Cat -- by no coincidence, the label that also broke fellow Icelanders Sigur Rós -- has all the majestic synths, crackly drum machine percussion, sampled silence, and crystalline vocals you'd expect from the country that produced Björk and Sigur Rós, though with less focus on digital sound than the former and less reliance on drama than the latter. Múm is very interested in the music of sound, but Finally We Are No One never sounds like a difficult record; if it's not the instruments sounding naïve or folksy (in good ways), the lisping, childlike vocals are bound to prompt adjectives like adorable and precious. "Green Grass of Tunnel" has the sweet melancholia, coloring-book hip-hop, and slowly shifting chords of poptronica producers like isan or Boards of Canada, and also trades on the wide-eyed fairy-tale qualities of Björk. Apart from the hefty title, "Don't Be Afraid, You Have Just Got Your Eyes Closed" approaches mainstream appeal -- briefly, and at several different times -- with a nice dance beat gradually replaced by a beatbox breakdown, toy xylophone, and a nice trumpet melody. Several individual passages of songs strike an evocative chord, like the string quartet, piano, warm synthesizers, and percussion rumblings of "K/Half Noise" combining to ...
| | Peter Gabriel Up CD (2002) Enhanced CD
Reich: Music For 18 Musicians
$12.59
Principally recorded at Real World, Box, England; Air Lyndhurst, England; and
"The Barry Williams Show" was nominated for the 2003 Grammy Awards for Best Male Rock Vocal Performance.
Though much effort has obviously been put into the sonic details of UP's production, and to fine effect, the album seems to represent not so much a new direction for Peter Gabriel, but rather a consolidation of the styles he's mined in preceding years. For instance, the opening track "Darkness" combines the dark, tension-filled paranoia of Gabriel's third self-titled album with the positive, seemingly therapy-derived lyrical direction of US's "Digging in the Dirt." Similarly, the heartworn emotionality of "No Way Out" brings to mind US's "Red Rain," but adds some slinky spy-movie guitar lines.
With a decade passing since his last album of new songs, Gabriel clearly has much to say, and accordingly most tracks hover around ...
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John Macdonald is primarily a contemporary classical composer who also writes songs as well as composing easy listening, celtic, meditation and relaxation genres. He is a pianist and singer who first began composing when He was twelve years of age. Over the years he has been very much involved in teaching and tuition and has been ...
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