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Stephen Michael Reich ( // born October 3, 1936) is an American composer who, along with La Monte Young, Terry Riley, and Philip Glass, pioneered minimal music in the mid to late 1960s.
La Monte Thornton Young is an American avant-garde composer, musician, and artist recognized as one of the first American minimalist composers. His works are cited as examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes. Young is perhaps best known for his pioneering work in Western drone music, prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. He has engaged in musical and multimedia collaborations with a wide range of artists, including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and multimedia artist Marian Zazeela, with whom he developed the Dream House sound and light environment.
Terrence Mitchell Riley is an American composer and performing musician associated with the minimalist school of 20th century music, of which he was a pioneer. Influenced by both jazz and Indian classical music, his music became notable for its innovative use of repetition, tape music techniques, and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalism and important influences on experimental, electronic, and rock music.
Philip Glass is an American composer. He is widely regarded as one of the most influential musicians of the late 20th century. Glass's work has been described as minimal music, having similar qualities to other "minimalist" composers such as La Monte Young, Steve Reich, and Terry Riley. Glass describes himself as a composer of "music with repetitive structures", which he has helped evolve stylistically.
Reich's style of composition influenced many composers and groups. His innovations include using tape loops to create phasing patterns (for example, his early compositions It's Gonna Rain and Come Out ), and the use of simple, audible processes to explore musical concepts (for instance, Pendulum Music and Four Organs ). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US. Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably Different Trains .
In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Originating in the 1940s with the work of Pierre Schaeffer, they were used among contemporary composers of 1950s and 1960s, such as Steve Reich, Terry Riley, and Karlheinz Stockhausen, who used them to create phase patterns, rhythms, textures, and timbres. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, used tape loops to accompany their music with innovative sound effects. In the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound.
Phase music is a form of music that uses phasing as a primary compositional process. It is an approach to musical composition that is often associated with minimal music, as it shares similar characteristics, but some commentators prefer to treat phase music as a separate category. Phasing is a compositional technique in which the same part is played on two musical instruments, in steady but not identical tempi. Thus, the two instruments gradually shift out of unison, creating first a slight echo as one instrument plays a little behind the other, then a doubling effect with each note heard twice, then a complex ringing effect, and eventually coming back through doubling and echo into unison. Phasing is the rhythmic equivalent of cycling through the phase of two waveforms as in phasing. Note that the tempi of the two instruments are almost identical, so that both parts are perceived as being in the same tempo: the changes only separate the parts gradually. In some cases, especially live performance where gradual separation is extremely difficult, phasing is accomplished by periodically inserting an extra note into the phrase of one of the two players playing the same repeated phrase, thus shifting the phase by a single beat at a time, rather than gradually.
It's Gonna Rain is a minimalist musical composition for magnetic tape written by Steve Reich in 1965. It lasts about 17 minutes and 50 seconds. It was Reich's first major work and a landmark in minimalism and process music.
Writing in The Guardian , music critic Andrew Clements suggested that Reich is one of "a handful of living composers who can legitimately claim to have altered the direction of musical history". ... be considered, by general acclamation, America's greatest living composer".The American composer and critic Kyle Gann has said that Reich "may
The Guardian is a British daily newspaper. It was founded in 1821 as The Manchester Guardian, and changed its name in 1959. Along with its sister papers The Observer and The Guardian Weekly, the Guardian is part of the Guardian Media Group, owned by the Scott Trust. The trust was created in 1936 to "secure the financial and editorial independence of the Guardian in perpetuity and to safeguard the journalistic freedom and liberal values of the Guardian free from commercial or political interference". The trust was converted into a limited company in 2008, with a constitution written so as to maintain for The Guardian the same protections as were built into the structure of the Scott Trust by its creators. Profits are reinvested in journalism rather than distributed to owners or shareholders.
Kyle Eugene Gann is an American professor of music, critic, analyst, and composer who has worked primarily in the New York City area. As a music critic for The Village Voice and other publications, he has supported progressive music, including such "downtown" movements as postminimalism and totalism.
Reich was born in New York City to the Broadway lyricist June Sillman and Leonard Reich. When he was one year old, his parents divorced, and Reich divided his time between New York and California. He is the half-brother of writer Jonathan Carroll. [ citation needed ] later he would set texts by that philosopher to music in Proverb (1995) and You Are (variations) (2006).He was given piano lessons as a child and describes growing up with the "middle-class favorites", having no exposure to music written before 1750 or after 1900. At the age of 14 he began to study music in earnest, after hearing music from the Baroque period and earlier, as well as music of the 20th century. Reich studied drums with Roland Kohloff in order to play jazz. While attending Cornell University, he minored in music and graduated in 1957 with a B.A. in Philosophy. Reich's B.A. thesis was on Ludwig Wittgenstein;
June Carroll was an American lyricist, singer and actress.
Jonathan Samuel Carroll is an American fiction writer primarily known for novels that may be labelled magic realism, slipstream or contemporary fantasy. He has lived in Austria since the 1970s.
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
For a year following graduation, Reich studied composition privately with Hall Overton before he enrolled at Juilliardto work with William Bergsma and Vincent Persichetti (1958–1961). Subsequently, he attended Mills College in Oakland, California, where he studied with Luciano Berio and Darius Milhaud (1961–1963) and earned a master's degree in composition. At Mills, Reich composed Melodica for melodica and tape, which appeared in 1986 on the three-LP release Music from Mills.
Hall Franklin Overton was an American composer, jazz pianist and music teacher. He was born in Bangor, Michigan, the first of the three sons of Stanford and Ruth (Barnes) Overton. He grew up in Grand Rapids, Michigan.
The Juilliard School is a performing arts conservatory located in the Lincoln Center for the Performing Arts on the Upper West Side of Manhattan, New York City. Established in 1905, the school trains about 850 undergraduate and graduate students in dance, drama, and music. It is widely regarded as one of the world's leading drama, music and dance schools, with some of the most prestigious arts programs.
William Laurence Bergsma was an American composer.
Reich worked with the San Francisco Tape Music Center along with Pauline Oliveros, Ramon Sender, Morton Subotnick, Phil Lesh and Terry Riley.He was involved with the premiere of Riley's In C and suggested the use of the eighth note pulse, which is now standard in performance of the piece.
The San Francisco Tape Music Center was founded in 1962 by composers Pauline Oliveros, Morton Subotnick and Ramon Sender as a "nonprofit cultural and educational corporation, the aim of which was to present concerts and offer a place to learn about work within the tape music medium". Other composers involved include Terry Riley, Steve Reich, and later William Maginnis and Tony Martin.
Pauline Oliveros was an American composer, accordionist and a central figure in the development of experimental and post-war electronic art music.
Ramón Sender Barayón is a composer, visual artist and writer. He was the co-founder, with Morton Subotnick and Pauline Oliveros, of the San Francisco Tape Music Center in 1962. He is the son of Spanish writer Ramón J. Sender.
Reich's early forays into composition involved experimentation with twelve-tone composition, but he found the rhythmic aspects of the number twelve more interesting than the pitch aspects.Reich also composed film soundtracks for Plastic Haircut (1963), Oh Dem Watermelons (1965), and Thick Pucker (1965), three films by Robert Nelson. The soundtrack of Plastic Haircut, composed in 1963, was a short tape collage, possibly Reich's first. The Watermelons soundtrack used two 19th-century minstrel tunes as its basis, and used repeated phrasing together in a large five-part canon. The music for Thick Pucker arose from street recordings Reich made walking around San Francisco with Nelson, who filmed in black and white 16mm. This film no longer survives. A fourth film from 1965, about 25 minutes long and tentatively entitled "Thick Pucker II", was assembled by Nelson from outtakes of that shoot and more of the raw audio Reich had recorded. Nelson was not happy with the resulting film and never showed it.
Reich was influenced by fellow minimalist Terry Riley, whose work In C combines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work, It's Gonna Rain. Composed in 1965, the piece used a fragment of a sermon about the end of the world given by a black Pentecostal street-preacher known as Brother Walter. Reich built on his early tape work, transferring the last three words of the fragment, "it's gonna rain!", to multiple tape loops which gradually move out of phase with one another.
The 13-minute Come Out (1966) uses similarly manipulated recordings of a single spoken line given by Daniel Hamm, one of the falsely accused Harlem Six, who was severely injured by police.The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruise’s blood come out to show them." Reich rerecorded the fragment "come out to show them" on two channels, which are initially played in unison. They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns. In 1999, Rolling Stone magazine dubbed Reich "The Father of Sampling" and compared his work with the parallel evolution of hip-hop culture by DJs such as Kool Herc and Grandmaster Flash.
Melodica (1966) takes the phase looping idea of his previous works and applies it to instrumental music. Steve Reich took a simple melody, which he played on a melodica, then recorded it. He then sets the melody to two separate channels, and slowly moves them out of phase, creating an intricate interlocking melody. This piece is very similar to Come Out in rhythmic structure, and are an example of how one rhythmic process can be realized in different sounds to create two different pieces of music. Reich was inspired to compose this piece from a dream he had on May 22, 1966, and put the piece together in one day. Melodica was the last piece Reich composed solely for tape, and he considers it his transition from tape music to instrumental music.
Reich's first attempt at translating this phasing technique from recorded tape to live performance was the 1967 Piano Phase , for two pianos. In Piano Phase the performers repeat a rapid twelve-note melodic figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. Violin Phase, also written in 1967, is built on these same lines. Piano Phase and Violin Phase both premiered in a series of concerts given in New York art galleries.
A similar, lesser known example of this so-called process music is Pendulum Music (1968), which consists of the sound of several microphones swinging over the loudspeakers to which they are attached, producing feedback as they do so. "Pendulum Music" has never been recorded by Reich himself, but was introduced to rock audiences by Sonic Youth in the late 1990s.
Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composed Clapping Music (1972), in which the players do not phase in and out with each other, but instead one performer keeps one line of a 12-eighth-note-long (12-quaver-long) phrase and the other performer shifts by one eighth note beat every 12 bars, until both performers are back in unison 144 bars later.
The 1967 prototype piece Slow Motion Sound was not performed although Chris Hughes performed it 27 years later as Slow Motion Blackbird on his Reich-influenced 1994 album Shift . It introduced the idea of slowing down a recorded sound until many times its original length without changing pitch or timbre, which Reich applied to Four Organs (1970), which deals specifically with augmentation. The piece has maracas playing a fast eighth note pulse, while the four organs stress certain eighth notes using an 11th chord. This work therefore dealt with repetition and subtle rhythmic change. It is unique in the context of Reich's other pieces[ clarification needed How so – 'unique'?] in being linear as opposed to cyclic like his earlier works – the superficially similar Phase Patterns , also for four organs but without maracas, is (as the name suggests) a phase piece similar to others composed during the period. Four Organs was performed as part of a Boston Symphony Orchestra program, and was Reich's first composition to be performed in a large traditional setting.
In 1970, Reich embarked on a five-week trip to study music in Ghana, during which he learned from the master drummer Gideon Alorwoyie. Reich also studied Balinese gamelan in Seattle in 1973 and 1974. [ when? ] From his African experience, as well as A. M. Jones's Studies in African Music about the music of the Ewe people, Reich drew inspiration for his 90-minute piece Drumming , which he composed shortly after his return. Composed for a nine-piece percussion ensemble with female voices and piccolo, Drumming marked the beginning of a new stage in his career, for around this time he formed his ensemble, Steve Reich and Musicians, and increasingly concentrated on composition and performance with them. Steve Reich and Musicians, which was to be the sole ensemble to interpret his works for many years, still remains active with many of its original members.[ citation needed ]
After Drumming, Reich moved on from the "phase shifting" technique that he had pioneered, and began writing more elaborate pieces. He investigated other musical processes such as augmentation (the temporal lengthening of phrases and melodic fragments). It was during this period that he wrote works such as Music for Mallet Instruments, Voices and Organ (1973) and Six Pianos (1973).
In 1974, Reich began writing Music for 18 Musicians . This piece involved many new ideas, although it also hearkened back to earlier pieces. It is based on a cycle of eleven chords introduced at the beginning (called "Pulses"), followed by a small section of music based on each chord ("Sections I-XI"), and finally a return to the original cycle ("Pulses"). This was Reich's first attempt at writing for larger ensembles. The increased number of performers resulted in more scope for psychoacoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". Reich remarked that this one work contained more harmonic movement in the first five minutes than any other work he had written. Steve Reich and Musicians made the premier recording of this work on ECM Records.
Reich explored these ideas further in his frequently recorded pieces Music for a Large Ensemble (1978) and Octet (1979). In these two works, Reich experimented with "the human breath as the measure of musical duration ... the chords played by the trumpets are written to take one comfortable breath to perform".Human voices are part of the musical palette in Music for a Large Ensemble but the wordless vocal parts simply form part of the texture (as they do in Drumming). With Octet and his first orchestral piece Variations for Winds, Strings and Keyboards (also 1979), Reich's music showed the influence of Biblical cantillation, which he had studied in Israel since the summer of 1977. After this, the human voice singing a text would play an increasingly important role in Reich's music.
The technique [...] consists of taking pre-existing melodic patterns and stringing them together to form a longer melody in the service of a holy text. If you take away the text, you're left with the idea of putting together small motives to make longer melodies – a technique I had not encountered before.
In 1974 Reich published the book Writings About Music, containing essays on his philosophy, aesthetics, and musical projects written between 1963 and 1974. An updated and much more extensive collection, Writings On Music (1965–2000), was published in 2002.
Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage. Tehillim (1981), Hebrew for psalms , is the first of Reich's works to draw explicitly on his Jewish background. The work is in four parts, and is scored for an ensemble of four women's voices (one high soprano, two lyric sopranos and one alto), piccolo, flute, oboe, English horn, two clarinets, six percussion (playing small tuned tambourines without jingles, clapping, maracas, marimba, vibraphone and crotales), two electronic organs, two violins, viola, cello and double bass, with amplified voices, strings, and winds. A setting of texts from Psalms 19:2–5 (19:1–4 in Christian translations), 34:13–15 (34:12–14), 18:26–27 (18:25–26), and 150:4–6, Tehillim is a departure from Reich's other work in its formal structure; the setting of texts several lines long rather than the fragments used in previous works makes melody a substantive element. Use of formal counterpoint and functional harmony also contrasts with the loosely structured minimalist works written previously.
Different Trains (1988), for string quartet and tape, uses recorded speech, as in his earlier works, but this time as a melodic rather than a rhythmic element. In Different Trains, Reich compares and contrasts his childhood memories of his train journeys between New York and California in 1939–1941 with the very different trains being used to transport contemporaneous European children to their deaths under Nazi rule. The Kronos Quartet recording of Different Trains was awarded the Grammy Award for Best Classical Contemporary Composition in 1990. The composition was described by Richard Taruskin as "the only adequate musical response—one of the few adequate artistic responses in any medium—to the Holocaust", and he credited the piece with earning Reich a place among the great composers of the 20th century.
In 1993, Reich collaborated with his wife, the video artist Beryl Korot, on an opera, The Cave , which explores the roots of Judaism, Christianity and Islam through the words of Israelis, Palestinians, and Americans, echoed musically by the ensemble. The work, for percussion, voices, and strings, is a musical documentary, named for the Cave of Machpelah in Hebron, where a mosque now stands and Abraham is said to have been buried.
Reich and Korot collaborated on the opera Three Tales , which concerns the Hindenburg disaster, the testing of nuclear weapons on Bikini Atoll, and other more modern concerns, specifically Dolly the sheep, cloning, and the technological singularity.
Reich used sampling techniques for pieces like Three Tales and City Life from 1994. Reich returned to composing purely instrumental works for the concert hall, starting with Triple Quartet in 1998 written for the Kronos Quartet that can either be performed by string quartet and tape, three string quartets or 36-piece string orchestra. According to Reich, the piece is influenced by Bartók's and Alfred Schnittke's string quartets, and Michael Gordon's Yo Shakespeare.
The instrumental series for the concert hall continued with Dance Patterns (2002), Cello Counterpoint (2003), and sequence of works centered around Variations: You Are (Variations) (2004), a work which looks back to the vocal writing of works like Tehillim or The Desert Music, Variations for Vibes, Pianos, and Strings in 2005, for the London Sinfonietta and Daniel Variations (2006).
in 2002 Reich was invited by Walter Fink to the annual Komponistenporträt of the Rheingau Musik Festival, as the 12th composer featured.
In an interview with The Guardian, Reich stated that he continued to follow this direction with his piece Double Sextet (2007), which was commissioned by eighth blackbird, an American ensemble consisting of the instrumental quintet (flute, clarinet, violin or viola, cello and piano) of Schoenberg's piece Pierrot Lunaire (1912) plus percussion. Reich states that he was thinking about Stravinsky's Agon (1957) as a model for the instrumental writing.[ citation needed ]
December 2010 Nonesuch Records and Indaba Music held a community remix contest in which over 250 submissions were received, and Steve Reich and Christian Carey judged the finals. Reich spoke in a related BBC interview that once he composed a piece he would not alter it again himself; "When it's done, it's done," he said. On the other hand, he acknowledged that remixes have an old tradition e.g. famous religious music pieces where melodies were further developed into new songs.
Reich premiered a piece, WTC 9/11 , written for String Quartet and Tape (a similar instrumentation to that of Different Trains) in March 2011. It was performed by the Kronos Quartet, at Duke University, North Carolina, US.
On March 5, 2013 the London Sinfonietta, conducted by Brad Lubman, at the Royal Festival Hall in London gave the world premiere of Radio Rewrite for ensemble with 11 players, inspired by the music of Radiohead. The programme also included Double Sextet for ensemble with 12 players, Clapping Music, for two people and four hands featuring Reich himself alongside percussionist Colin Currie, Electric Counterpoint , with electric guitar by Mats Bergstrom accompanied by a layered soundtrack, as well as two of Reich's small ensemble pieces, one for acoustic instruments, the other for electric instruments and tape.
Music for Ensemble and Orchestra was premiered on November 4, 2018 by the Los Angeles Philharmonic under Susanna Mälkki at Walt Disney Concert Hall, marking Reich's return to writing for orchestra after an interval of more than thirty years.
Reich was awarded with the Praemium Imperiale Award in Music in October 2006.
On January 25, 2007, Reich was named 2007 recipient of the Polar Music Prize with jazz saxophonist Sonny Rollins.
On April 20, 2009, Reich was awarded the 2009 Pulitzer Prize for Music, recognizing Double Sextet , first performed in Richmond March 26, 2008. The citation called it "a major work that displays an ability to channel an initial burst of energy into a large-scale musical event, built with masterful control and consistently intriguing to the ear".
In May 2011 Steve Reich received an honorary doctorate from the New England Conservatory of Music.
In 2012, Steve Reich received the Gold Medal in Music by the American Academy of Arts and Letters.
In 2013 Reich received the US$400,000 BBVA Foundation Frontiers of Knowledge Award in contemporary music for bringing a new conception of music, based on the use of realist elements from the realm of daily life and others drawn from the traditional music of Africa and Asia.
In September 2014, Reich was awarded the "Leone d'Oro" (Golden Lion for Lifetime Achievement in Music) from the Venice Biennale.
In March 2016, Reich was awarded an Honorary Doctorate by the Royal College of Music in London.
Reich's style of composition has influenced many other composers and musical groups, including John Adams, the progressive rock band King Crimson, the new-age guitarist Michael Hedges, the art-pop and electronic musician Brian Eno, the experimental art/music group The Residents, the composers associated with the Bang on a Can festival (including David Lang, Michael Gordon, and Julia Wolfe), and numerous indie rock musicians including songwriter Sufjan Stevensand instrumental ensembles Tortoise, The Mercury Program (themselves influenced by Tortoise), and Godspeed You! Black Emperor (who titled an unreleased song "Steve Reich").
John Adams commented, "He didn't reinvent the wheel so much as he showed us a new way to ride."He has also influenced visual artists such as Bruce Nauman, and many notable choreographers have made dances to his music, Eliot Feld, Jiří Kylián, Douglas Lee and Jerome Robbins among others; he has expressed particular admiration of Anne Teresa De Keersmaeker's work set to his pieces.
In featuring a sample of Reich's Electric Counterpoint (1987) the British ambient techno act the Orb exposed a new generation of listeners to the composer's music with its 1990 production Little Fluffy Clouds .In 1999 the album Reich Remixed featured "re-mixes" of a number of Reich's works by various electronic dance-music producers, such as DJ Spooky, Kurtis Mantronik, Ken Ishii, and Coldcut among others.
Reich's Cello Counterpoint (2003) was the inspiration for a series of commissions for solo cello with pre-recorded cellos made by Ashley Bathgate in 2017 including new works by Emily Cooley and Alex Weiser.
Reich often cites Pérotin, J. S. Bach, Debussy, Bartók, and Stravinsky as composers whom he admires and who greatly influenced him when he was young.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 has also stated that he admires the music of the band Radiohead, which led to his composition Radio Rewrite.
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Milton Byron Babbitt was an American composer, music theorist, and teacher. He is particularly noted for his serial and electronic music.
George Henry Crumb or George Henry Jr. Crumb is an American composer of modern classical and avant-garde music. He is known as an explorer of unusual timbres, alternative forms of notation, and extended instrumental and vocal techniques, which obtained his innovative techniques in the use of vivid sonorities. Examples include seagull effect for the cello, metallic vibrato for the piano, and using a mallet to play the strings of a double bass, among numerous others.
Meredith Jane Monk is an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, Monk has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records. In 1991, Monk composed an opera called Atlas, commissioned and produced by the Houston Opera and the American Music Theater Festival.
Music for 18 Musicians is a work of musical minimalism composed by Steve Reich during 1974–1976. Its world premiere was on April 24, 1976, at The Town Hall in New York City. Following this, a recording of the piece was released by ECM New Series in 1978.
Violin Phase is a musical work written by minimalist composer Steve Reich in October 1967.
The Desert Music is a work of music for voices and orchestra composed by the minimalist composer Steve Reich. It is based on texts by William Carlos Williams and takes its title from his poetry anthology The Desert Music and Other Poems. The composition consists of five movements, and in both its tempi and arrangement of thematic material, the piece is in a characteristic arch form (ABCBA). It was composed in 1983.
Ingram Douglass Marshall is an American composer and a former student of Vladimir Ussachevsky and Morton Subotnick.
A sextet is a formation containing exactly six members. The former term is commonly associated with vocal ensembles or musical instrument groups, but can be applied to any situation where six similar or related objects are considered a single unit.
Six Pianos is a minimalist piece for six pianos by the American composer Steve Reich. It was completed in March 1973. He also composed a variation for six marimbas, called Six Marimbas, in 1986. The world première performance of Six Pianos was in May 1973 at the John Weber Gallery in New York City. The European première took place in January the next year in Stuttgart, Germany.
Sextet is a composition by Steve Reich. As the title indicates, it is written for an ensemble of six: four percussionists and two keyboardists. The percussionists play three marimbas, two vibraphones, two bass drums, crotales, sticks, and tam-tam. Two percussionists double on piano during the opening "Pulse" section. The keyboardists play both pianos and synthesizers set to an electric organ sound. The piece was composed in 1984–1985 and is about 28 minutes in duration.
Three Tales is a video-opera in three acts with music by American composer Steve Reich and visuals by Beryl Korot, his wife. It is scored for two sopranos, three tenors, string quartet, percussion, keyboards, and pre-recorded audio. Its premiere was at the Vienna Festival on May 12, 2002; the BBC had commissioned a version for television broadcast four months later. The 12-minute tale Hindenburg had been written in 1998, while the remaining tales were completed in the year of the premiere.
Steve Reich and Musicians, sometimes credited as the Steve Reich Ensemble, is a musical ensemble founded and led by the American composer Steve Reich to perform his compositions. This ensemble has premiered many of Reich's works and has performed his works more than any other. The ensemble received a Grammy Award in 1999.
Electric Counterpoint is a minimalist composition by the American composer Steve Reich. The piece consists of three movements, "Fast," "Slow", and "Fast". Reich has offered two versions of the piece: one for electric guitar and tape, the other for an ensemble of guitars. The work shares similarities with Reich's New York Counterpoint.
Arthur "Art" Bixler Murphy was a classical and jazz musician, pianist and composer. He was born in Princeton, New Jersey. He grew up in Oberlin, OH, where his father was a member of the Oberlin College faculty.
Ned McGowan is an American composer and flutist based in Amsterdam. Ned holds degrees in composition from the Royal Conservatory Den Haag and in flute from the Cleveland Institute of Music and the San Francisco Conservatory of Music.
Eight Lines, a work by American minimalist composer Steve Reich, was originally titled Octet.
Gary Kulesha is a Canadian composer, pianist, conductor, and educator. Since 1995, he has been Composer Advisor to the Toronto Symphony Orchestra. He has been Composer-in-Residence with the Kitchener-Waterloo Symphony (1988–1992) and the Canadian Opera Company (1993–1995). He was awarded the National Arts Centre Orchestra Composer Award in 2002. He currently teaches on the music faculty at the University of Toronto.
Steve Reich: Triple Quartet is a studio album by the Kronos Quartet and other artists. The music was composed by Steve Reich and was commissioned by the quartet; Reich and the quartet have worked together since 1989.
Steve Reich: Works 1965–1995 is a 1997 10-CD box set of compositions by composer Steve Reich released by Nonesuch Records as part of Reich's 60th birthday celebration. Described as, "monumental... essential... beautiful", it includes full track and personnel listing, career chronology, appreciative notes, a new interview, and "his most famous works" with the "curious exclusions" of Violin Phase, Music for Pieces of Wood and Vermont Counterpoint.
WTC 9/11 is a composition by Steve Reich for string quartet written in 2009–2010 which premiered on March 19, 2011 at Duke University. The piece was written for the Kronos Quartet, who performed the premiere, and was co-commissioned by Barbican Centre, Carnegie Hall, Duke University, the University of Illinois at Urbana–Champaign, the Philharmonic Society of Orange County, the Phyllis C. Wattis Foundation, Chamber Music America and the National Endowment for the Arts. The piece is approximately fifteen minutes long, and draws inspiration from the events of September 11, 2001.