Come sempre la musica di reich e' un toccasana per il mio spirito. Raggiungo la pace dell'anima e sono felice di essere vivo e di godere da solo i momenti regalati da questo pezzo.
My all time favourite composition by Steve Reich. A criminally ignored masterpiece. Reich himself disregards this work saying "I'm not keen" when quizzed by me as to why it has only ever been officially recorded twice, why this score is never performed by his ensemble, why a pocket score has never been published by Boosey and Hawkes and why one cannot even buy a conductors score. This work of genius is available only as hire material from Boosey. For me the last great work Reich ever wrote was the "You Are Variations" which harkens back to his finest output from the 70s and 80s. The ensemble Alarm will Sound released the 2nd recording on the Elektra Nonesuch label in the 90s but it doesn't do it justice. I would say this very fine virtual reconstruction is a far better rendering. There exists a very fine live recording from Paris of the original version of Music for a Large Ensemble which is available on the "Minimal Effort" account . The recording is fascinating as it contains a deleted central section as well as a slower tempo. Also voices are more prominent. I really hope Reich might one day agree to a new recording of this version althoigh I doubt it. There seems to be an obsessive interest around two other works from the 70s namely Drumming and Music for 18 Musicians. Great works though they are they cannot compare to the beautiful polyphonic poetry of this work
I saw the piece performed in the 1980s in Islington, London, under Reich's supervision, as part of the Almeida Festival. It was the shortened version, as here. It was a very good performance but the acoustics in the church it was performed in were far from ideal. Other Reich pieces in the same venue had to be played at slower tempi to cope. Vermont Counterpoint and Piano Phase in particular were given slow readings, something which Reich was quizzed about in the subsequent audience discussion. Given the challenges of keeping an unconducted large ensemble of this size on the same bar may well have persuaded Reich that this was too ambitious a composition to expect all the players to keep synchronised with just the metallophone. Just a hunch.
@@stevencranfield8938 Well you've brought up something I has never thought about. The fact that the piece as you say is unconducted. I think also Reich's music works spectacularly well whether played at fast or slow tempi.
@@gingeropera7491 Agreed. Reich said that the slower than expected interpretation of Piano Phase, whether or not dictated by the acoustics, had given him a new perspective on the piece. It felt almost Chopin-like. I can't recall his exact words, and he was certainly not claiming the piece as being like one of Chopin's, rather that the playing brought out certain pianistic qualities he associated with Chopin. The slower tempi used in Vermont Counterpoint was largely influenced by the fact they had (was it?) seven flautists playing it live, as the lead player, Nancy Ruffer, mentioned in the talk with Reich. A bravura attempt, all things considered, and very atmospheric.
À la même époque Robert Fripp commençait son travail de recherche sur la polyphonie de plusieurs guitares (en usant du New Standard Tuning, dont les Crafty Guitars sont issus).
This is not a "song," but a "piece." In classical music, unless one is talking about pieces written as songs, such as the songs in Schubert's "Winterreise" cycle, or Ravel's "Chansons Madecasses," works of music are referred to in general terms as "pieces." These pieces may be sonatas, having a sonata form, or préludes, or études, etc. : )
@@ondinehd6889 you don't need to brigade people's use of wording, it's perfectly fine to call this a song. it's subjective. we aren't in classical music studies, we're on youtube.
I really appreciate that You made this and made it publicly available. This is one of my ever-favourite songs, and I've always liked switching between different interpretations of it. And since there weren't many recordings of this song, I always reserved some hope that some more will one day come into existance: well, here it is! Thank You, good job!
What a work this must have been! What a dedication! One of Reich's very best pieces. The Amsterdam World premiere is also on RUclips. The full version. ruclips.net/video/xSI8sVRCwLo/видео.html
Good job! I was just about comment on the 'weird acoustic' and ask which version this was when I read the description and saw it was yours. It's an interesting new perspective on the piece - thank you.
Come sempre la musica di reich e' un toccasana per il mio spirito. Raggiungo la pace dell'anima e sono felice di essere vivo e di godere da solo i momenti regalati da questo pezzo.
My all time favourite composition by Steve Reich. A criminally ignored masterpiece. Reich himself disregards this work saying "I'm not keen" when quizzed by me as to why it has only ever been officially recorded twice, why this score is never performed by his ensemble, why a pocket score has never been published by Boosey and Hawkes and why one cannot even buy a conductors score. This work of genius is available only as hire material from Boosey. For me the last great work Reich ever wrote was the "You Are Variations" which harkens back to his finest output from the 70s and 80s. The ensemble Alarm will Sound released the 2nd recording on the Elektra Nonesuch label in the 90s but it doesn't do it justice. I would say this very fine virtual reconstruction is a far better rendering. There exists a very fine live recording from Paris of the original version of Music for a Large Ensemble which is available on the "Minimal Effort" account . The recording is fascinating as it contains a deleted central section as well as a slower tempo. Also voices are more prominent. I really hope Reich might one day agree to a new recording of this version althoigh I doubt it. There seems to be an obsessive interest around two other works from the 70s namely Drumming and Music for 18 Musicians. Great works though they are they cannot compare to the beautiful polyphonic poetry of this work
thanks for all the info. I agree, this piece is very underrated. all the best to you.
@@grizzlybear511 I think you may be referring to "Different Trains" or the Triple Quartet.
I saw the piece performed in the 1980s in Islington, London, under Reich's supervision, as part of the Almeida Festival. It was the shortened version, as here. It was a very good performance but the acoustics in the church it was performed in were far from ideal. Other Reich pieces in the same venue had to be played at slower tempi to cope. Vermont Counterpoint and Piano Phase in particular were given slow readings, something which Reich was quizzed about in the subsequent audience discussion. Given the challenges of keeping an unconducted large ensemble of this size on the same bar may well have persuaded Reich that this was too ambitious a composition to expect all the players to keep synchronised with just the metallophone. Just a hunch.
@@stevencranfield8938 Well you've brought up something I has never thought about. The fact that the piece as you say is unconducted. I think also Reich's music works spectacularly well whether played at fast or slow tempi.
@@gingeropera7491 Agreed. Reich said that the slower than expected interpretation of Piano Phase, whether or not dictated by the acoustics, had given him a new perspective on the piece. It felt almost Chopin-like. I can't recall his exact words, and he was certainly not claiming the piece as being like one of Chopin's, rather that the playing brought out certain pianistic qualities he associated with Chopin. The slower tempi used in Vermont Counterpoint was largely influenced by the fact they had (was it?) seven flautists playing it live, as the lead player, Nancy Ruffer, mentioned in the talk with Reich. A bravura attempt, all things considered, and very atmospheric.
Absolutely beautiful magnificent.
Full of subtle tone colours and tempos and with surprising emotional sensitivity and complexity.
Insane. I've been listening to this for weeks and never realized it was VST. Amazing.
À la même époque Robert Fripp commençait son travail de recherche sur la polyphonie de plusieurs guitares (en usant du New Standard Tuning, dont les Crafty Guitars sont issus).
thank you so much for making and uploading this. really, thank you.
i applaud the amount of work that must've gone into this, but why does this have more views than the the real acoustic version?
nothing like steve...
Very nicely executed!
I absolutely love it! This version is everything - it helps me to relax or concentrate easily. Great job.
One of my favorite songs!!
This is not a "song," but a "piece." In classical music, unless one is talking about pieces written as songs, such as the songs in Schubert's "Winterreise" cycle, or Ravel's "Chansons Madecasses," works of music are referred to in general terms as "pieces." These pieces may be sonatas, having a sonata form, or préludes, or études, etc. : )
@@ondinehd6889 you don't need to brigade people's use of wording, it's perfectly fine to call this a song. it's subjective. we aren't in classical music studies, we're on youtube.
@@ondinehd6889 ew lol
I really appreciate that You made this and made it publicly available. This is one of my ever-favourite songs, and I've always liked switching between different interpretations of it. And since there weren't many recordings of this song, I always reserved some hope that some more will one day come into existance: well, here it is! Thank You, good job!
What a work this must have been! What a dedication! One of Reich's very best pieces. The Amsterdam World premiere is also on RUclips. The full version.
ruclips.net/video/xSI8sVRCwLo/видео.html
Good job! I was just about comment on the 'weird acoustic' and ask which version this was when I read the description and saw it was yours. It's an interesting new perspective on the piece - thank you.
è Tutta uguale ma è carina
Yes good !
☺☺☺☺☺