Steve Reich is a name unknown to many, however his influence is heard in the music many of us listen to day to day. Considered to be a "father" of the minimalist movement in music, Reich's work has served as inspiration for countless numbers of the contemporary indie and dance music creators. He is, without exaggeration, one of the most exciting artists living and practicing today.
31 January the WSO New Music Festival featured 4 of his chamber pieces in concert, as part of their feature of Reich for this year's festival.
Opening with a performance of his piece, Clapping Music, the evening began with excitement. The piece, written for rhythms created only by 4 sets of hands, hearkens to folk music traditions such as flamenco or african drumming. As the rhythms depart from one another to syncopation, then intertwine seamlessly, the phasing of the same instrument making the same sound is almost trance-inducing.
Next, a quartet of string musicians from the WSO performed Reich's moving Different Trains. Reich is one of (if not the) first to begin experimenting with recorded sound and live sound in a musical setting, allowing the two to converse. Different trains begins with recorded sounds of America Before the War - train destinations, and a rhythmic chugging created when the recorded and live violins work together. Seamlessly, though, the trains and voice overs grow ominous, and the recordings are no longer happy destinations, but statements of fear. My 8 year old daughter attended the concert with me, and was moved to tears over the feelings of uneasiness induced by the second movement. The third movement's sounds reflect what we heard in the first, but our experience of them differs after having heard the second movement and its danger. Reich spoke in the subsequent Q & A about the desire to have rhythms change out of nowhere, and thus the role of the recorded strings. Their impact elicits a strange feeling of the impetus for change existing outside our own control, in my mind.
Next came New York Counterpoint, a clever and cheeky clarinet piece which counterpoints against several recorded saxaphones. Again here, the impact of phasing, the live mix of recorded and live sound causes an uncanny sensation of confusion in the ear, which is very satisfying.
Finally, In Tandem, which paired Reich's Double Sextet with choreography from Peter Quanz and outstanding dancers from the Royal Winnipeg Ballet. With the musicians on stage, surrounding the dancers, the 3 movements of the piece truly felt like an experience of the dance and music working together. Both could exist independently, however experiencing them together brought forward a heightened experience of the two. (more on this idea from me later...things are brewing). Quanz' choreography with its broken shapes and complex detail fit impeccably with Reich's music. To be honest, I have trouble finding sufficient vocabulary to express how outstanding this piece truly was.
Some more thoughts on the performance here: Winnipeg Free Press - Review
And a bit more about Different Trains here: CBC Scene - Different Trains
31 January the WSO New Music Festival featured 4 of his chamber pieces in concert, as part of their feature of Reich for this year's festival.
Opening with a performance of his piece, Clapping Music, the evening began with excitement. The piece, written for rhythms created only by 4 sets of hands, hearkens to folk music traditions such as flamenco or african drumming. As the rhythms depart from one another to syncopation, then intertwine seamlessly, the phasing of the same instrument making the same sound is almost trance-inducing.
Next, a quartet of string musicians from the WSO performed Reich's moving Different Trains. Reich is one of (if not the) first to begin experimenting with recorded sound and live sound in a musical setting, allowing the two to converse. Different trains begins with recorded sounds of America Before the War - train destinations, and a rhythmic chugging created when the recorded and live violins work together. Seamlessly, though, the trains and voice overs grow ominous, and the recordings are no longer happy destinations, but statements of fear. My 8 year old daughter attended the concert with me, and was moved to tears over the feelings of uneasiness induced by the second movement. The third movement's sounds reflect what we heard in the first, but our experience of them differs after having heard the second movement and its danger. Reich spoke in the subsequent Q & A about the desire to have rhythms change out of nowhere, and thus the role of the recorded strings. Their impact elicits a strange feeling of the impetus for change existing outside our own control, in my mind.
Next came New York Counterpoint, a clever and cheeky clarinet piece which counterpoints against several recorded saxaphones. Again here, the impact of phasing, the live mix of recorded and live sound causes an uncanny sensation of confusion in the ear, which is very satisfying.
Finally, In Tandem, which paired Reich's Double Sextet with choreography from Peter Quanz and outstanding dancers from the Royal Winnipeg Ballet. With the musicians on stage, surrounding the dancers, the 3 movements of the piece truly felt like an experience of the dance and music working together. Both could exist independently, however experiencing them together brought forward a heightened experience of the two. (more on this idea from me later...things are brewing). Quanz' choreography with its broken shapes and complex detail fit impeccably with Reich's music. To be honest, I have trouble finding sufficient vocabulary to express how outstanding this piece truly was.
Some more thoughts on the performance here: Winnipeg Free Press - Review
And a bit more about Different Trains here: CBC Scene - Different Trains