Composer: Steve Reich
Works: Triple Quartet (1999), Electric Guitar Phase (1967, 2001), Music for Large Ensemble (1977), Tokyo/Vermont Counterpoint (1981, 2000)
Performers: Kronos Quartet, Dominic Frasca (electric guitar), Alarm Will Sound, Ossia, Alan Pierson, Mika Yoshida (MIDI marimba)
Recording: Various locations, 1998-2001
Label: Nonesuch 7559-79546-2
Steve Reich, a pivotal figure in the minimalist movement, continues to push the boundaries of musical expression through his innovative works. The collection presented here offers a fascinating lens into Reich’s evolving sound world, juxtaposing newer compositions with well-established favorites. This album, while not essential Reich, features a rich tapestry of textures and rhythms that merit consideration from both ardent followers and curious newcomers alike.
The centerpiece, the Triple Quartet, is a striking exploration of layered sound, designed specifically for three string quartets. The Kronos Quartet, renowned for their adventurous spirit, performs one of the quartets live while the other two are pre-recorded, creating a complex interplay of voices. This work diverges from Reich’s signature seamless transitions, exhibiting a more episodic structure that evokes a sense of drama. The harmonic language, described by Reich as ‘definite,’ does possess a gypsy-like quality, yet it tends to shift abruptly, lacking the fluidity that characterizes his best works. The performance itself is executed with exceptional commitment, showcasing the Kronos Quartet’s technical prowess and interpretive insights, although the episodic nature may frustrate listeners expecting a more traditional Reich experience.
Moving to Electric Guitar Phase, a transcription of the seminal Violin Phase, the choice to adapt this work for electric guitar raises questions about its intent and execution. The timbral shift to the ‘weedy’ electric guitar sound, reminiscent of 1980s rock guitarists, was initially jarring and detracted from the work’s inherent rhythmic clarity. This contrasts sharply with the original’s purity of sound, leading to a performance that feels more like a homage than a necessary reimagining. The layering of tracks, a hallmark of Reich’s technique, still functions effectively, but the electric guitar’s character risks overshadowing the minimalist intricacies that make the original so compelling.
Music for Large Ensemble stands as a hallmark of Reich’s oeuvre, encapsulating his technique during a particularly vibrant period. This new recording presents a slightly plummier sound, enhanced by the addition of two violins compared to the original BIS recording. While the additional warmth is pleasant, it sacrifices some of the crystalline transparency that allows each voice to shine through. The performance is competent and engaging, yet it cannot eclipse the clarity of Reich’s own version, which remains a benchmark for interpretation.
The final offering, Tokyo/Vermont Counterpoint, emerges as a standout in this collection. Mika Yoshida’s arrangement for MIDI marimba of the original flute work is both imaginative and skillful. The marimba’s resonance, while more percussive, captures the essence of Reich’s rhythmic patterns while providing a fresh palette. This transcription enhances the work’s appeal, showcasing how reinterpretation can breathe new life into established pieces without compromising their integrity. The resulting soundscape is not only contemporary but also reflective, echoing the filmic quality akin to scores heard in modern cinema.
This compilation of Reich’s work provides a diverse and engaging listening experience, though it is marred by some interpretive choices that may polarize audiences. The Triple Quartet and Tokyo/Vermont Counterpoint offer compelling insights into Reich’s innovative approach, while Electric Guitar Phase and the new version of Music for Large Ensemble provide an opportunity to reflect on the challenges of reinterpretation. The recording quality is commendable throughout, allowing the listener to appreciate the nuances of each performance. Overall, this collection serves as an intriguing exploration of Reich’s musical landscape, appealing to both seasoned admirers and those seeking to understand the nuances of minimalist music.
