Steve Reich occupies a weird place in modern music. He's one of the most-respected modern classical composers and right on the cusp of the avant-garde, winning prestigious accolades like a Pulitzer and a Grammy. Yet at the same time, he's something of a rock star in the classical world. He writes pieces that successfully connect with a younger generation of musicians, influencing artists, composers and ensembles as diverse as Sufjan Stevens, King Crimson, Brian Eno and A Silver Mt. When Reich composes, people tend to pay attention. His newest album, WTC 9/11, compiles three of his latest compositions.The title piece, WTC 9/11, was originally written for the Kronos Quartet in 2010.
It utilizes a technique Reich used on his earlier piece Different Trains, which was also originally performed by Kronos. He utilizes the notes in spoken word recordings taken from NORAD and FDNY to craft the melodies, which are played over a repetitive backing. The first movement of the piece is by far the strongest; the intense voice clips and blaring dial tone create the perfect, terse atmosphere of confusion and desolation that this piece so desperately tries to convey.
It strongly recalls the uncomfortable strength of the wailing trains in movement two of Different Trains. The second movement of WTC 9/11, however, feels much less inspired. This portion of the piece feels almost a bit too empty, even by minimalism's standards. The voice clips feel disconnected and awkwardly placed. While the emotional impact is still immensely strong, as was no doubt Reich's main goal, the music itself feels a bit too dreary, plodding along a bit more slowly than most listeners will stand for. The third movement, however, does feel like a fitting finale, bringing some musical relief to the emotional turmoil Reich sought to deal with.
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It's an extremely effective piece on a visceral level, but musically, it's not as strong as Reich is capable of.The second selection is the 2009 piece Mallet Quartet, performed by S? The piece was originally written for soloist and tape, in much the same style as his recent works 2 x 5 and Double Sextet. Even though this recording lacks the novelty of actually playing against a tape, it still features the delicate rhythmic interplay that makes Reich's double ensemble tracks so intriguing. It's narrowly the strongest of the three selections on this album, harking back tonally to some of Reich's mallet-heavy pieces like Music for Eighteen Musicians or Music for Mallet Instruments, Voices and Organ.The final and oldest piece, 2002's Dance Patterns, delves into several different short vignettes of dance melodies, alternating between the up-tempo and the largo. The rhythms are beautifully intricate without losing the accessibility of the melody that makes this piece so danceable in the first place; it's easily one of Reich's most enjoyable pieces, comparable to Vermont Counterpoint or Tehillim.Though the title track doesn't quite live up to the gravity it was intended to have, this collection is nonetheless a strong and welcome entry in Reich's already quite vast discography. It is both a wonderful introduction to Reich's style of minimalism and a fresh listen for veterans of the genre.
Contents.History The piece was commissioned in 1984 by clarinetist for nine B-flat clarinets and three bass clarinets. This was the second in Reich's 'counterpoint' series, preceded by (1982) for flutes, (1987), for electric guitars and followed by (2003), for celli. Each of these works are scored for one live performer who plays against up to a dozen recordings of the same instrument. The canonic interplay in the composition creates multiple layers of sound, akin to Reich's earlier phase pieces. Out of the series, New York Counterpoint is considered the most rhythmically intricate and one of Reich's most well known works. The second movement of the piece was featured as a set work for Edexcel music A level between 2005 and 2016 Composition New York Counterpoint is divided into three movements known only by their suggested tempi: fast, slow and fast.Movement I (Fast) The opening ostinato derives from the opening of a similar Reich piece, (1976).
Out of the synthetic pulses arises a simple melody which repeats in phase with other groupings of clarinets. The use of interlocking repeated melodic patterns, according to Reich, echoes his earlier works (1967) and (1967). The theme recapitulates the pulses in an identical harmonic progression. A larger pattern is seen here as the interlocking melodies and chordal pulses are too in phase. These resulting melodies or melodic patterns then become the basis for the following section as the other surrounding parts in the contrapuntal web fade out.Movement II (Slow) The second movement, while much slower, plays with the same ideas of phase shifting and melodic imitation. The persistent use of staggered repetition of melodic material is at the very heart of the movement's construction.
Vasco rossi discografia completa. In the nature of the patterns, the movements harmonic combination reflects the contemporaneously composed (1985). However, this movement's change of tempo is abrupt and halved, establishing an ambiguity between measured groupings.
In this case, three groups of four eight notes, or four groups of three eight notes. Despite the ambiguity and phase, this movement is the most melodic of the three, making its presence strong as an interlude and catalyst for the bombastic finale.Movement III (Fast) The final movement of New York Counterpoint draws attention to the bass clarinets, which function to accent in prominence. The melody, presented in a slow six-eight, is sharply interrupted by an antiphonal hocket in the bass clarinet, first one and then the other while the upper clarinets remain similar. In the program notes, Reich claims that 'the effect, by change of accent, is to vary the perception of that which in fact is not changing.' This movement, while less focused on the obvious theme of phase and drone, takes both elements from the previous movements and slyly incorporates them into the bass clarinet line.References.
The 'moving wall' represents the time period between the last issueavailable in JSTOR and the most recently published issue of a journal.Moving walls are generally represented in years. In rare instances, apublisher has elected to have a 'zero' moving wall, so their currentissues are available in JSTOR shortly after publication.Note: In calculating the moving wall, the current year is not counted.For example, if the current year is 2008 and a journal has a 5 yearmoving wall, articles from the year 2002 are available. Terms Related to the Moving Wall Fixed walls: Journals with no new volumes being added to the archive. Absorbed: Journals that are combined with another title.
Complete: Journals that are no longer published or that have beencombined with another title.
Contents.First recording It was first recorded in 1987 by guitarist, who made extensive use of, and was released along with Reich's, performed by the, on (catalogue number 979 176-2). Guitarists wishing to perform the piece may use Metheny's pre-recorded ensemble part or opt to record their own, adding the 13th guitar part in live performance. In 2007, the guitar ensemble Forestare made the first recording of the lesser known second version, on.Influence As with other pieces by Reich, Electric Counterpoint has influenced many modern artists, such as, which sampled the third movement of the recording as one of the hooks of ',' and, who sampled the piece's opening for his song 'The Proxy' from his first release, Deadringer. In 2008 Joby Burgess' Powerplant arranged the work for, taking influence from Metheny and the Orb.
Released two remixes of the third movement in 2010 for free, one which follows Reich's original closely and another reinterpretation titled 'Milde Salve'. Since 2012, guitarist has performed the piece at several festivals and at concerts featuring the; he recorded the piece for a Nonesuch album of Reich works titled released that same year, the title piece of which was inspired by two Radiohead songs.The third movement was included in the Edexcel Anthology of Music, in the second area of study, 'Music in the 20th Century'. It was included in the video game as one of the 'great works of music' and was performed by during the 2015 production 'Kinetic Noise'. Recordings.
Electric Counterpoint, Pat Metheny soloist, 1989. Included on. Electric Counterpoint, New Albion Records, 1994. CD. Electric Counterpoint, two versions, 2010.
Steve Reich Vermont Counterpoint Pdf Download 2016
Electric Counterpoint, soloist, on the album Radio Rewrite, Nonesuch, 2014. CD/download.Notes. Retrieved November 8, 2018. April 1, 2010. Retrieved November 8, 2018. Dota 1 full game free download torrent sites. Open'ner Festival.
Archived from on April 2, 2015. Retrieved March 10, 2015. Retrieved March 10, 2015.
Retrieved October 29, 2014. Drum Corps International (March 23, 2016).
Retrieved November 8, 2018 – via YouTube. Retrieved November 8, 2018. Archived from on May 20, 2009. Retrieved May 8, 2009.
CS1 maint: Archived copy as title. April 1, 2010. Retrieved November 8, 2018. Nonesuch Records Official Website. Retrieved November 8, 2018.
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