New Steve Reich–Gerhard Richter Film Project Premieres at The Shed

Steve Reich’s latest work for large ensemble, Reich/Richter, receives its world premiere on April 6, with performances through June 2, as part of opening commissions that launch The Shed, New York City’s new arts center located on Manhattan’s west side. The new work was composed for a moving picture by celebrated German painter Gerhard Richter and filmmaker Corinna Belz, based on Richter’s 2012 Patterns book. Reich/Richter is performed by Reich champions Ensemble Signal and the International Contemporary Ensemble, in alternation, during this nine-week run at the Shed.

The Reich/Richter composition and film were commissioned by The Shed as part of Reich Richter Pärt, and co-commissioned for a concert setting by The Los Angeles Philharmonic Association, Gustavo Dudamel, Music & Artistic Director; Cal Performances, University of California, Berkeley; Barbican Centre and Britten Sinfonia; Philharmonie de Paris; and Oslo Philharmonic.

Next season, Reich/Richter will be performed at The Barbican with the Britten Sinfonia conducted by Colin Currie (Oct 23, 2019), at the Philharmonie de Paris with Ensemble intercontemporain conducted by Elim Chan (Mar 7, 2020), and with the LA Phil New Music Group conducted by Brad Lubman (Jun 6, 2020). Additional performances will be announced in the near future.

Visit boosey.com for more information about Reich/Richter.

Reich/Richter: An Interview with Steve Reich

Steve Reich discusses composing Reich/Richter, a new 37-minute work for large ensemble, for a film by renowned painter Gerhard Richter, created in collaboration with filmmaker Corinna Belz. Reich/Richter debuts on April 6 at The Shed, New York City’s newest arts space, performed live by Ensemble Signal and the International Contemporary Ensemble through June 2.

How did this project first come together?
It goes back to 2009. I used to play occasionally with the Frankfurt based Ensemble Modern—Drumming Part 1 and Music for 18 Musicians. Richter was having a show at the Ludwig Museum in Cologne and wanted me to play Drumming Part 1 with members of the ensemble inside the show and to play Music for 18 Musicians at the nearby Cologne Philharmonie, all of which we did. It went extremely well and Richter and I had a chance to meet. We didn’t spend much time together but there was warm, mutual respect and admiration.

Seven years later, in 2016, I heard that he would like to discuss a new project. He suggested meeting at the Marian Goodman Gallery where he shows in New York. We met there and he showed me his Patterns book. It starts with one of his abstract paintings from the '90s. He scanned a photo of the painting into a computer and then cut the scan in half and took each half, cut that in half and two of the four quarters he reversed into mirror images. He then repeated this process of divide, mirror, repeat from half to quarter, eighth, 16th, 32nd, all the way up to 4096th. The net effect is to go from an abstract painting to a series of gradually smaller anthropomorphic “creatures” (since the mirroring produces bilateral symmetry) to still smaller “psychedelic” abstractions to very fine stripes.

Richter said he was making a film of the book together with Corinna Belz and would I consider writing the music? I said it was a very interesting project and that I would like to see some of the film. They sent some and I agreed to compose the score.

Does the film follow the same progression and structure as the Patterns book?
No, in the film, it’s basically the book backwards and considerably less systematic. It starts with the stripes, and then it changes gradually to larger and larger “abstract images” or anthropomorphic “creatures.” The film never gets to the full painting, but it gets close and then it goes gradually back to the stripes. So it’s kind of an arch form.

I know you’ve worked with arch forms in the past. Was that what attracted you to the project?
It was one factor but what really got me involved was the very beginning of the film with the pulsating, color shifting, glowing stripes. Instead of dividing, mirroring, and repeating, the film was multiplying and repeating. In computer terms, the initial stripes were made with 2 pixels. Then they gradually grew to 4, 8, 16, 32, and so on.

Now, just before I started work on this project, I completed two pieces: Runner and Music for Ensemble and Orchestra. Both pieces end with an oscillation between two gradually changing notes played by almost all the instruments. I felt that I wanted to begin a piece with that oscillation, and here the film began with 2 pixels. It was a perfect way to move from the end of my just-completed pieces to the beginning of this project. The structure of the music would be tied to the structure of the film. That was the basic idea.

You’re saying the film and the music are both based on the same structure. How exactly did that work?
The exact timing of the film, as with any film, is measured in standard SMPTE time code. It indicates the exact hour, minute, second, and fraction of a second of the film, and was visible in a window in the lower–right hand corner of the film as I worked with it on my computer. The time code indicates the exact moments where the visuals shift.

As I said before, when the film begins with the 2-pixel stripes, the music starts with a two–16th note oscillating pattern. When the film goes to four pixels, the music moves onto a four–16th note pattern, then to eight, and 16. After that, I began to think, this is going to get ridiculous, so at that point I began introducing longer note values—initially eighth notes, and later as the pixel count grew in the film, to quarter notes. By the middle of the film, when the images move from 512 to 1064 pixels and the images becomes larger and more “creature” like, the music really slows. Later, as the pixel count begins to diminish, the music moves back into more rapid eighths and then 16ths, ending with the most intense rapid movement. However, the changes between an image shift and the music changing are not so exact. Richter, Corinna, and I all agreed to keep some flexibility.

Do you think the music would have turned out differently if it wasn’t tied to the film?
The music only exists because I was asked to compose music for the film. Much of the film was completed before I started composing—that is the usual order when writing music for a film. There are other situations where the music preexists the film. For instance, a number of young filmmakers have made films to accompany my piece Different Trains. They have to adapt their timing to the music.

For me, in the traditional situation of writing for a preexisting film, I found it forced me to think of new ways of composing. I’m not a movie-music composer. I’ve never done this kind of thing before—but then again, working with Richter’s film is not your usual kind of movie either. Ultimately though, the two parts came together to create a new work. Frankly, I don’t know if the film would be as interesting to watch as a silent film. And I don’t intend what I’ve written musically to be presented as a concert piece by itself—I think that they’re very much mutually reinforcing.

You’ve long been closely associated with the visual arts scene in New York. Do you feel like there’s something about your music that is particularly suited to arts collaborations?
It’s certainly true that when I first came to public attention in New York and elsewhere in the 1960s and early ’70s, my major performances were at museums. The world premiere of Drumming, performed by Steve Reich and Musicians, was at the Museum of Modern Art in its original movie theater in 1971. It had never been used for music before that except when John Cage presented a concert there in the 1940s. The premiere of Four Organswas at the Guggenheim Museum. Pendulum Music, performed by myself, Richard Serra, Bruce Nauman, Michael Snow, and James Tenney was done at the Whitney in ’69. My ensemble gave the London premiere of Tehillim at the Hayward Gallery during the first show of Mark Rothko in the UK while the American premieres were performed first in the Rothko Chapel in Houston and then in the 20th-century galleries of the Metropolitan Museum of Art.

There was a real camaraderie on a personal, intellectual, and artistic level in the New York arts community in the ’60s and ’70s. I lived on Duane Street and Richard Serra lived around the corner—Michael Snow just a few blocks away. When I gave the concerts at the Park Place Gallery run by Paula Cooper around ’67, Rauschenberg and the whole Judson Dance scene came. That was the context in which I was living. I’ve been married for 45 years to visual artist Beryl Korot with whom I’ve collaborated on two video operas. So I have a long history of being connected with visual artists.


Reich/Richter was commissioned by The Shed, NYC; The Los Angeles Philharmonic Association, Gustavo Dudamel, Music & Artistic Director; Cal Performances, University of California, Berkeley; Barbican Centre and Britten Sinfonia; Philharmonie de Paris; and Oslo Philharmonic.

Interviewed by Carol Ann Cheung (2019)

Music for Ensemble and Orchestra by Steve Reich to Premiere in Fall 2018 and Reich/Richter in Spring 2019

The Los Angeles Philharmonic recently announced that it will give the world premiere of Steve Reich’s Music for Ensemble and Orchestra on November 1–4, 2018, as part of the orchestra’s centennial season programming. The premiere will be conducted by Susanna Mälkki.

Reich describes his new work for orchestra:

Music for Ensemble and Orchestra is an extension of the Baroque Concerto Grosso where there is more than one soloist. Here there are 20 soloists—all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, a Ghanaian bell pattern, eighths, and sixteenths. Music for Ensemble and Orchestra is modeled on my Runner of 2016 and is about 20 minutes in duration.

After the world premiere in Los Angeles, the piece travels to London for its UK premiere with the London Symphony Orchestra and Kristjan Järvi on November 29, 2018, at the Barbican Theatre. San Francisco Symphony and Michael Tilson Thomas perform the work on June 20–22, 2019. Additional performances of Music for Ensemble and Orchestra will be announced in the future.

Music for Ensemble and Orchestra was commissioned by the Los Angeles Philharmonic, London Symphony Orchestra, New York Philharmonic, San Francisco Symphony, Sydney Symphony Orchestra, and Baltic Sea Philharmonic. 

It was also recently announced that Reich will compose a new work for the inaugural season of The Shed, a new multi-arts center and performance space opening in spring 2019 in New York City. Written for large ensemble, Reich’s new work is a collaboration with artist Gerhard Richter, and explores the shared structure of Reich’s new work and Richter’s ‘Patterns.’ The world premiere will be performed by musicians from Ensemble Signal, the International Contemporary Ensemble, and AXIOM.

Steve Reich’s Drumming Launches New Record Label, Colin Currie Records

Colin Currie launches his newly created record label, Colin Currie Records, with a recording of Steve Reich’s Drumming, performed by the Colin Currie Group and Synergy Vocals. The album releases on March 9, 2018. The new label kicks off its first release with a concert at Saffron Hall on March 10 in an all-Reich program, including a full performance of Drumming. Drumming was the piece that launched the Colin Currie Group, a virtuoso ensemble of musicians hand-picked by Currie. The recording of Drumming was funded through a successful Kickstarter fundraising campaign. Reich endorsed the album, saying “It is an absolutely amazing recording of Drumming by an ensemble of superb musicians with unstoppable energy.”   Watch an excerpt from the recording session here: https://www.youtube.com/watch?v=KmlbuRGubrI

Forty years on, Reich’s creation still marks one of minimalism’s peaks. This performance from the Colin Currie Group, seamlessly compiled from a studio session of 32 takes, is thunderously exciting. The recording thrusts us right into the action with Currie and colleagues Synergy Vocals.
—The Times (London)
5 Stars

World Premiere Recording of Steve Reich’s Pulse / Quartet Releases February 2

Nonesuch releases Steve Reich’s Pulse / Quartet on February 2, 2018; the album is also available on vinyl LP on March 30. The album features two recent works by Reich: Pulse (2015) for large ensemble, performed by the International Contemporary Ensemble (ICE), and Quartet (2013) for two pianos and two vibraphones, performed by the Colin Currie Group.

ICE, called “the new gold standard for new-music” by The New Yorker, performed the world premiere of Pulse at Carnegie Hall’s “Reich at 80” celebration concert in November 2016. Quartet was written for Colin Currie and was premiered by the Colin Currie Group in October 2014 at London’s Southbank Centre.

It is based on a single, quirky melody in constant, telling transformation that is as close to a Beethoven late slow quartet movement that Reich is ever likely to get. The melody flows in ever changing canon.The lyricism, gorgeous instrumental textures and affecting harmonies spiritually alluring. The genius of “Pulse” is that you never really know where the score is going, just why it is going there. 
—LA Times

…“pulse” is by no means the raison d’ętre of the music.Its the seamless, intertwining canons in the woodwind and strings that give the shape and character to this ravishing quarter-hour movement, with airy, weightless textures - as rapt and contemplative as anything in Reich’s output. - Quartet’s harmonic adventures and episodic structure have gone beyond what he had written before but, despite its discursiveness, remain instantly recognisable as Reich’s work, though the harmonic subtleties and the colours they paint here are beguilingly new.- The close-up perspective of the recordings suits both pieces perfectly.
—The Guardian (Andrew Clements)
5 Stars

Written for two vibraphones and two pianos, Quartet is Mr. Reich's first piece for those two instruments alone, and the combination is ingenious and seductive, and deployed with subtle craftsmanship.
—New York Times

“Pulse”, played by the International Contemporary Ensemble, breaks new ground for the composer in its harmonic stasis: winds and strings inscribe a cyclical melodic line that seems to rise constantly over a steady pulse, weightlessly spiralling like thermal currents. The palette is tender, and the changes subtle: it’s like climbing a mountain, the same view altering by slight increments over the course of the ascent. 
—Independent (London)

Quartet of 2013. Here, key changes are frequent and new ideas proliferate, creating a feeling of restless activity, often with a joyful spring in its step. The combination of two pianos and two vibraphones, a Reich favourite though usually as part of a larger ensemble, is heard this time on its own. Their percussive sounds shimmer and glow. Performances and recording alike are top drawer.
—Financial Times

Something about Pulse/Quartet’s balance between geometric elegance and genuine emotiveness gets at the heart of what makes him a great composer. The playful movement lends a sense of humanity to the structure, and the structure lends rigors to the dance.
—The Wire (London)

Buy the album: Amazon | iTunes | Nonesuch Store

All-Reich Album Wins 2017 GRAMMY Award

On February 12, 2017, Third Coast Percussion’s highly acclaimed album of Steve Reich percussion works received the 2017 GRAMMY Award for Best Chamber Music / Small Ensemble Performance. The album, simply titled Steve Reich, features the works Mallet Quartet, Sextet, Nagoya Marimbas, and Music for Pieces of Wood. Third Coast Percussion also performed music from the album live at the awards ceremony.

When the recording was released in February 2016 on Cedille Records, it drew widespread praise from music critics across the US and abroad. BBC Music Magazine praised the combination of “creative fearlessness with reverent precision” and The Washington Post wrote, “The ensemble’s rich resonance, combined with the variety of pitches and shifting dynamics, evokes a kaleidoscopic dithyramb of rare power.” The New York Times praised the “relaxed warmth of the Mallet Quartet,” the “glistening brightness of Music for Pieces of Wood,” and the “full-blooded drama in the Sextet, which contains within its five movements a world of expressions from impish charm to almost oppressive darkness.”

Steve Reich has previously won two GRAMMY Awards—the first in 1990 for Different Trains, as recorded by Kronos Quartet on Nonesuch Records, and the second in 1999 for Music for 18 Musicians, also on the Nonesuch label.

Reich Album Releases Surrounding 80th Birthday


Multiple record labels and musicians have marked Reich’s 80th birthday year with an outpouring of new releases, as well as re-issues of landmark recordings from the composer’s prolific career.

In September, Sony Records released a double CD package by the Leipzig Radio Orchestra and Kristjan Järvi called Duet, featuring world premiere recordings of the orchestral versions of You Are (Variations) and Daniel Variations, as well as The Four Sections, Duet, and Clapping Music. Clapping Music is performed on this album by Reich with Järvi.

Deutsche Grammophon recently re-released an historical set of recordings made by Steve Reich and Musicians—its three-LP boxed set from 1974, reissued on special high-quality vinyl LPs: Drumming, Six Pianos, and Music for Mallet Instruments, Voices and Organ. The richly illustrated 28-page booklet includes Reich’s original essay and notes, plus the first publication of his original letters to the producer and the producer’s response about the recordings.

ECM Records released a limited edition set of its three historic recordings of Reich’s music: Music for 18 Musicians, Violin Phase / Music for a Large Ensemble / Octet, and Tehillim. Among the albums, recorded by Reich’s ensemble between 1976, 1980, and 1982, is “the definitive recording of his undisputed masterpiece Music for 18 Musicians,” as described by Pitchfork. The 44-page accompanying booklet includes original liner notes by Reich, a new essay by Paul Griffiths, and session photography by Deborah Feingold and Barbara Klemm.

Following their Diapason d’Or–winning recording of Reich’s Music for 18 Musicians last year, Ensemble Signal and Brad Lubman released a recording on Harmonia Mundi this past June of two recent pieces: Reich’s Pulitzer Prize–winning Double Sextet from 2007 and Radio Rewrite from 2013. The editors at Amazon said, “These strong, tuneful, energetic, tightly made works receive impassioned performances from Ensemble Signal, who The New York Times has called “one of the most vital groups of its kind.” The Arts Desk wrote, “The positivity is intoxicating; this is smart feel-good music which never feels glib. Brad Lubman’s intrepid Ensemble Signal play with an accuracy and passion which defies description.”

LSO Live released an album featuring the LSO Percussion Ensemble, who record a live performance of three Reich works: Sextet, Clapping Music, and Music for Pieces of Wood. Grammophon wrote, “Pieces of Wood is given an excellent rendition on this live recording, as if the precise mechanism of a complex clock had been carefully deconstructed before being pieced back together. The LSO percussion’s performance of Sextet (1985) also builds up in energy and momentum to a quite thrilling climax.”

Third Coast Percussion’s new album of all-Reich percussion works was released in February 2016 on Cedille Records to great critical acclaim. Works featured on the album include Mallet Quartet, Sextet, Nagoya Marimbas, and Music for Pieces of Wood.

Next on the horizon is a recording of Quartet by the Colin Currie Group, longtime champions of Reich’s work. The piece was written for the ensemble and premiered by them in 2014 at a sold-out concert at London’s Southbank Centre. The album will be released on Nonesuch Records on a date to be announced.

World Premieres of Pulse and Runner in November 2016

Photo: Runner in performance at The Royal Ballet in London with choreography by Wayne McGregor. Photo by Tristram Kenton.

Two new works by Steve Reich—Pulse and Runner—have received world premieres in New York and London during his 80th birthday season.

Pulse, scored for winds, strings, piano and electric bass, provided the centerpiece of Carnegie Hall's all-Reich 80th birthday concert on November 1 (alongside performances of Quartet and Three Tales). The premiere in New York featured the combined forces of ICE, So Percussion, and Synergy Vocals conducted by David Robertson. In its review of the concert, The Guardian called Pulse "another contemporary Reich winner" and "a rapturous extended song—one with enough confidence to end with the feel of reverie."

Following the New York performance, the work traveled to London for its UK premiere on November 5 with the Britten Sinfonia and Clark Rundell, presented as part of the Barbican's "Reich at 80" series. In January, the Los Angeles Philharmonic New Music Group gives the West Coast premiere of Pulse at Walt Disney Concert Hall. (Read the program notes for Pulse here.)

Reich's ensemble work Runner, written for winds, percussion, pianos and strings, premiered at The Royal Ballet in London on November 10 in a new ballet, Multiverse, presented as part of Wayne McGregor's 10th anniversary as Resident Choreographer. The Times called Runner "hopeful, harmonic, and healing" and The New York Times described it as "calmly luminous."

Ensemble Modern and Brad Lubman have been premiering both Pulse and Runner (concert performance) on tour in Paris, Cologne, and Amsterdam. Runner receives its US premiere in January at Cal Performances with Lubman and Ensemble Signal, who will also bring the work to Carnegie Hall in fall 2017. (Read the program notes for Runner here.)

Worldwide "Reich at 80" Celebrations in 2016–2017


During the 2016–2017 season, institutions around the globe celebrate Steve Reich’s 80th birthday (October 3), with over 400 performances taking place in more than 20 countries this year. Major “Reich at 80” series and festivals—presented by Lincoln Center, Carnegie Hall, San Francisco Symphony, The Barbican in London, Philharmonie de Paris, Tokyo Opera City, Cologne Philharmonie, Soundstreams / Massey Hall in Toronto, and more—feature extensive retrospectives of his major works.

Additional highlights of the anniversary season include multiple performances of Reich and Beryl Korot’s video opera The Cave in Frankfurt’s Bockenheimer Depot and in St. Louis; presentations of his and Korot’s video opera Three Tales at Wuppertal Oper, The Barbican, Carnegie Hall, and Prague’s National Theatre Opera; and three consecutive concerts pairing Reich’s Desert Music with Stravinsky’s Rite of Spring, performed by Sydney Symphony Orchestra, Synergy Vocals, and David Robertson at the Sydney Opera House.

The landmark season also reveals the world premieres of two new ensemble works, Pulse and Runner. Pulse received its world premiere at Carnegie Hall on November 1 with the combined forces of ICE, So Percussion, and Synergy Vocals, conducted by David Robertson. Runner is unveiled at The Royal Ballet in London with new choreography by Wayne McGregor, opening on November 10. Both new works will be toured throughout the US and Europe by different ensembles.

Steve Reich Awarded 2016 Nemmers Prize


In June 2016, Northwestern University's Henry and Leigh Bienen School of Music announced that it is awarding Steve Reich its 2016 Michael Ludwig Nemmers Prize in Music Composition. Established in 2004, the Nemmers Prize honors classical music composers of outstanding achievement who have significantly influenced the field of composition.

The prize includes two residencies for Reich at the Bienen School of Music in February and November 2017, including coaching ensembles, meeting with student composers, discussions about his music, and three concerts featuring Bienen School of Music student performing groups.

For more information, visit Northwestern University's website.

Steve Reich Awarded Honorary Doctorate from Royal College
of Music

Charles, Prince of Wales awarding Steve Reich Honorary Doctorate at the Royal College of Music in London.

Steve Reich was awarded an honorary doctorate from London's Royal College of Music at the venerable institution's Annual Awards ceremony on March 10, 2016. Reich, along with conductor Sir Roger Norrington and others, were among several internationally renowned musicians being honored by the RCM. Presenting the award was the College's President, His Royal Highness Prince Charles.

Steve Reich Selected 2016-17 Debs Composer's Chair
at Carnegie Hall

Steve Reich has been selected as the Richard and Barbara Debs Composer's Chair for Carnegie Hall's 2016–17 season.

The Richard and Barbara Debs Composer's Chair is a position of distinction at Carnegie Hall. It is a testament to an artist's accomplishments and influence, and illuminates the oeuvre of the most renowned living composers. Next season, Steve Reich will serve as the Debs Composer's Chair, curating a series of concerts that delve into the generational distinctions of a style and approach to music that he pioneered. Besides his training at Cornell, Juilliard and Mills College with Luciano Berio, he also studied Ghanaian drumming, Balinese Gamelan and Hebrew Cantillation. He began his career as an avant-garde iconoclast and has become one of the most respected composers of our time.

Of the seven Reich-focused events next season, four will be devoted to his "Three Generations - Changing the direction of concert music" series. It will show how the language of composition changed from the mid-20th century to the present by pivoting from serial atonal music toward a more harmonic and rhythmic style. The "first generation" is given two concerts: the event on 30 March, 2017 centers on the music of John Adams and Terry Riley, and the one on 6 April, 2017 explores Arvo Pärt, Philip Glass, and Reich himself. The "second generation" concert (on 19 April, 2017) traverses the music of the founders of Bang on a Can: David Lang, Julia Wolfe, and Michael Gordon. The "third generation" concert on 26 April, 2017 surveys the music of Bryce Dessner and Nico Muhly.

In addition to the "Three Generations" series, Carnegie Hall will celebrate Reich's 80th birthday with an event on 1 November, 2016 featuring an all-Reich program: his recent work Quartet, the world premiere of Pulse, and the video opera Three Tales, created in collaboration with video artist Beryl Korot.

Other events include a concert on 11 February, 2017 featuring the Kronos Quartet (longtime champions of Reich's work) performing the composer's Triple Quartet and other works. Also, the American Composers Orchestra gives a performance of Reich's groundbreaking Tehillim, a setting of several passages from Psalms

For more information on Steve Reich's Carnegie Hall residency, visit www.carnegiehall.org/reich.



Steve Reich and Stephen Sondheim:
In Conversation and Performance at Lincoln Center

Stephen Sondheim and Steve Reich with moderator John Schaefer

In January 2015, Steve Reich and Stephen Sondheim sat down together on stage for the first time in their long careers to discuss the influence of their works and appreciation for each other’s music. The event, which was moderated by WNYC’s John Schaefer, took place at the Appel Room of Lincoln Center in New York City.

The two-hour evening of discussion and stories  also included  performances of Reich’s and Sondheim’s music by Ensemble Signal, Paul Gemignani, George Lee Andrews, Kate Baldwin, Michael Cerveris, Anthony de Mare, Alexander Gemignani, and Derek Johnson.

Click the photo to view the event in its entirety.



Sextet, Mallet Quartet, Nagoya Marimbas and Music for Pieces of Wood - performed by Third Coast Percussion on Cedille in February 2016

By the time the members of this impressive percussion ensemble joined forces in 2005, the composer Steve Reich was already a grandfather figure in the American new-music scene. So the percussionist Robert Dillon writes in the liner notes to this beguiling CD, his group's responsibility is "not to,document this repertoire - it no longer needs basic preservation - but rather to put our stamp on it." It's above all a sensual approach to tone color that comes through in Third Coast's take on classic works, whether it's the relaxed warmth of the Mallet Quartet or the glistening brightness of "Music for Pieces of Wood". Joined by the pianists David Friend and Oliver Hagen, the ensemble also finds full-blooded drama in the Sextet, which contains within its five movements a world of expressions from impish charm to almost oppressive darkness.
New York Times

In his thoughtful liner notes for Third Coast Percussion's excellent new album Steve Reich, member Robert Dillon reminds us that it wasn't long ago that percussion ensembles were outcasts, as few composers took much interest in that section of the orchestra. Things changed a lot because of John Cage, but no one unleashed the possibilities as much and as consistently as Steve Reich, who Dillon says was a key influence for all of Third Coast's members. The new album surveys the composer's singular work for percussion over a four-decade span, beginning with 1973's "Music for Pieces of Wood." The focal point is the 1985 masterpiece Sextet, performed with the help of pianists David Friend and Oliver Hagen. It's a work TCP have played for years, and their adoration and familiarity with it are palpable in the crisp precision and pulsing energy of their latest performance.
Chicago Reader

In these performances there is a buoyancy to the perpetually pulsating rhythms in the Mallet Quartet and (above all) the lengthy Sextet that somehow conveys that joy in movement that seems to be what this music is all about. Those gently but inexorably shifting rhythmic and harmonic patterns spring vividly to life
Classics Today

Album of the Week – Q2 Music, WQXR, New York

New Blood Premieres at New York City Ballet

Steve Reich and Justin Peck, New York City Ballet Fall Gala, 9/30/2015. Credit: Paul Kolnik.

New York City Ballet’s Fall 2015 Gala was an evening of contemporary dance and contemporary music. Always one of the most anticipated events of New York City’s culture scene, this year’s gala went above and beyond in all manner of choreography, costumes, and music. The performance included the world premiere of choreographer and dancer Justin Peck’s New Blood, set to Steve Reich’s Variations for Vibes, Pianos, and Strings.

The response was enthusiastic — a testament to complementary nature between Reich’s music and physical movement.

Mr. Peck’s ‘New Blood’ (14 minutes), set to Steve Reich’s ‘Variations for Vibes, Piano and Strings,’ confirms that this choreographer is not just commandingly gifted but also possessed of exceptional compositional virtuosity. The brilliant group patterns of the opening and the central section of successive duets in which A dances with B, next B with C, and so on, almost as if regardless of gender, are remarkable feats. The steps are always a pleasure, especially in their mastery of off-balance legwork; the cast (seven men, six women) is excellent.
— The New York Times





Steve Reich's Clapping Music App Releases on iTunes App Store

Steve Reich, right, performs Clapping Music with London Sinfonietta principal percussionist David Hockings at the Royal Festival Hall in London.

In July 2015, Steve Reich’s Clapping Music was released on the on the iTunes App Store. Developed by Touchpress, the London Sinfonietta, and Queen Mary University of London, Steve Reich’s Clapping Music brings Reich’s seminal work, Clapping Music, to a digital platform, offering an interactive experience in learning and understanding rhythmic patterns.

Aiming to create a game that is both fun and educational, the three partners (brought together by Nesta) set out with the idea of using Steve Reich’s music to teach people rhythmic skills and engage a wider audience with contemporary classical music. By incorporating levels of gameplay and integrating educational videos and explanations, the program embraces Steve Reich’s approach to musical architecture; the result is an addictive app that brings the user through the full score of Clapping Music.

“Forget ‘Angry Birds,’ or ‘2048.’ The latest star of a maddeningly addictive iPhone game is the composer Steve Reich.”
—The New York Times

“…brilliant – and infuriatingly addictive…”
—The Guardian

“…perfectly modern and delightful.”
—The Globe and Mail


Released May 2015 by Harmonia Mundi Records: Music for 18 Musicians performed by Ensemble Signal

Steve Reich’s 1976 masterpiece, one of the landmarks of 20th-century music, has already acquired its own enduring performing tradition. Music for 18 Musicians may have started out as the exclusive preserve of Reich’s own ensemble, but more and more groups now play it, and at least four fine versions of the hour-long work are available on disc. The latest, from the New York-based Ensemble Signal, is certainly one of the best so far. Signal’s director, Brad Lubman, has been one of Reich’s regular collaborators for many years (he conducted the premiere of Reich’s video opera Three Tales, for instance), and this performance with a group of young musicians – most of whom, as the sleeve note points out, would not have been born when the piece was first performed – has the perfect combination of tightly disciplined ensemble playing and creative fantasy. There’s tremendous, unstoppable energy in this performance, an urgent edge to its textures and a surging power to its thrilling climaxes, that make the greatness of the music unmistakable.
- Andrew Clements - The Guardian - 5 stars

“Even if more recordings are released next year to celebrate the 40th anniversary of this work, Steve Reich’s instant classic, none will likely be more sensational than this. Taped at Empac in Troy, N.Y., in 2011, the augmented players of the Ensemble Signal joyously meld rhythmic precision and transparency of sound with a startling ability to shade colors. It’s like hearing a ritual unfold and made radical once more.”
New York Times

“One could hardly wish for more assured, sensitive guides to Steve Reich's masterpiece.”

The most heartening thing about this new recording of Steve Reich’s 1976 minimalist masterpiece may be the simple fact of its existence. Here is a composition that for a long time was the sole province of its creator, who performed it with his own ensemble. Now it’s moving with increasing determination into the realm of accepted standard repertoire, where — just like Beethoven’s Fifth — everyone wants to weigh in with their own version. And that in turn means that each interpretation is going to have its own constellation of emphases and oversights, strengths and weaknesses. What the performance by Brad Lubman and the Ensemble Signal has going for it is a rhythmic profile that is both swift and loose — the tempos have a noticeable forward push, and yet the ensemble playing is so masterful that it all sounds effortlessly graceful.
San Francisco Chronicle

Awarded Diapason d’Or in June 2015
- Diapason Magazine


Nonesuch Reissues Music for 18 Musicians on Limited Edition LP

The original 1998 Nonesuch recording of Music for 18 Musicians, which was released on CD and earned a Grammy Award for Best Small Ensemble Performance, has been reissued for a limited run of 4,000 copies on two 180-gram vinyl LPs.

Click here to purchase the album.


Steve Reich Speaks at Harvard University's Graduate School of Design

In March 2015, Steve Reich was a guest speaker at Harvard University’s Graduate School of Design. The talk included information about the conception and impetus for works such as WTC 9/11 and Different Trains. A discussion with Dean Mohsen Mostafavi and composer Hans Tutschku followed, centering around Reich’s musical output.

(Click the photo to view the talk.)


Released September 2014 by Nonesuch Records: Radio Rewrite Performed by Alarm Will Sound

“…instantly accessible, instantly enjoyable.”
The Observer

“It’s satisfyingly Mr. Reich’s sound world, but unobtrusively enriched by Radiohead’s melancholy palette.”
New York Times

“...a fine display of compositional mastery, which has nothing to do with remix culture, and everything to do with old-fashioned virtues of harmony and counterpoint.”
Daily Telegraph

“The five-movement piece was seamless and allowed the listener, once again, to get swept away into the mystically hypnotic world of Steve Reich.”
San Francisco Classical Voice

“This is orchestral Steve Reich, a matured, relaxed Steve Reich—he allows almost Mahlerian moments of calm, slowing the rhythm right down—but he has lost none of his vitality and verve.”
Musical America

“It has Reich’s fundamental virtue of physical and rhythmic vitality supporting the richest and most satisfying sense of harmony of any of his pieces… Radiohead’s harmonies are themselves beyond the genre in sophistication and affect, but Reich’s are sublime, the power of his chord sequences hits right in the gut.”
New York Classical Review


Steve Reich Receives Golden Lion for Lifetime Achievement in Music

In September 2014, Steve Reich was awarded the Golden Lion for Lifetime Achievement in Music from the Venice Biennale, an honor bestowed upon composers who have helped shape the musical landscape throughout their careers.

(Click the photo to watch a talk between Steve Reich and music critic Oreste Bossini at the Venice Biennale.)


Steve Reich Receives BBVA Foundation's Frontiers of Knowledge Award

In June 2014, Steve Reich received the BBVA Foundation’s Frontiers of Knowledge Award. Based in Madrid, the BBVA Foundation offers awards aiming to promote scientific research and artistic creation, “in the conviction that science, culture and knowledge in its broadest sense hold the key to a better future for people.”

Philip Glass, Nico Muhly, David Cossin, Timo Andres, and Steve Reich performing Four Organs at Brooklyn Academy of Music, September 2014.

Recent Reich Events Around the World 2014

  • Steve Reich and Musicians joined forces with the Philip Glass Ensemble in September 2014 for three sold-out nights at the Brooklyn Academy of Music that featured works by both composers. Performed works included Reich’s Music for 18 Musicians, Drumming, Four Organs, Sextet, WTC 9/11, Piano Phase, and Clapping Music.
  • The 2014 Big Ears Festival featured Steve Reich as Artist-in-Residence. The three-day festival in Knoxville, TN saw performances of Music for 18 Musicians, Radio Rewrite, and Drumming, as well as Radiohead’s Jonny Greenwood performing Electric Counterpoint.
  • In June 2014, Reich’s Music for 18 Musicians at the Teatro Colón in Buenos Aires. The concert, which saw Reich performing, quickly sold out and 1,000 extra tickets were offered for standing room only.
  • Kristjan Järvi and the MDR Sinfonieorchester and Rundfunkchor took Reich’s works on the road in May 2014 to Dresden, Leipzig, and Paris for sold-out events that included performances of works such as The Desert Music, Duet, and The Four Sections, among others.
  • The premiere of Quartet in October 2014 by the Colin Currie Group was met with rapturous critical reception after the sold-out event at London’s Southbank Centre. The Guardian noted, “Relaxed, intimate and bittersweet in mood, it’s a chamber work in essence, written with the kind of egalitarianism between the musicians that we often find in string quartets, as the emphasis shuttles fluidly from one player, or combination of players, to the next… Its grace belies its difficulty: it was played with an unassuming virtuosity and a well-nigh faultless sense of ensemble, in which mutual understanding is paramount. Reich was given a hero’s reception when it was over.”

Colin Currie and Steve Reich perform Clapping Music at Royal Festival Hall in London November 2013
- photo Ben Larpent

Recent Reich Events Around the World 2013

The music of Steve Reich has seen major performances and tours. Here are a few highlights from 2013:

  • In November 2013 the Colin Currie Group and Synergy Vocals performed Music for 18  Musicians, Music for Pieces of Wood, Pendulum Music and Clapping Music together with Steve Reich at Royal Festival Hall in London’s South Bank Centre.
  • Later that month, the Amadinda Quartet and Friends performed Music for 18 Musicians, Double Sextet, Mallet Quartet and Clapping Music, together with Steve Reich at the Liszt Academy in Budapest
  • In March of 2013 the London Sinfonietta presented the World Premiere of Radio Rewrite as well as Double Sextet, 2x5, Electric Counterpoint and Clapping Music together with Steve Reich at Royal Festival Hall in London. Ivan Hewitt of the Telegraph wrote: “ what gave pleasure was seeing how thoroughly the borrowed material turned into Reich. It was a fine display of compositional mastery, which had nothing to do with remix  culture, and everything to do with old-fashioned virtues of harmony and counterpoint.” The Guardian commented, “Motoric, rhythmic patterns drive the music inexorably towards a sort of ecstasy.” The Financial Times wrote, “Radio Rewrite is a rich and impressive ensemble piece for non-rock instruments.” Colin Greenwood, Radiohead’s bass player remarked on BBC, “It's fantastic, and so exciting…you're seeing it through someone else's eyes, or a prism, the different refraction. For that, we're all incredibly grateful.”
  • Later in March 2013 Alarm Will Sound presented the American Premiere of Radio Rewrite, along with City Life, Four Excerpts from Genesis (from The Cave) and Clapping Music at Stanford University. In November 2013 the same ensemble presented the New York Premiere of the piece at the Metropolitan Museums’s Grace Rainey Rogers Auditorium.
  • In June 2013, 2x5, Electric Counterpoint and Clapping Music  were performed by the Bang on a Can All Stars and Steve Reich at the Rock oriented Bloc Festival in Cambersands, Sussex, UK and then the Gdansk Rock Festival featured Music for 18 Musicians and Drumming - Part One performed by the Ensemble Modern and Steve Reich in July 2013


Steve Reich Awarded Gold Medal in Music 2012 from the American Academy of Arts and Letters

In May 2012, Steve Reich was awarded the Gold Medal in Music from the American Academy of Arts and Letters for his career achievements




Five articles by: Richard Taruskin, Stephen Sondheim, David Lang, Nico Muhly, So Percussion and Brad Lubman added to the Articles section.


Full Tri-Fold cover of WTC 9/11

WTC 9/11 performed by the Kronos Quartet released by Nonesuch in September 2011.

“A dark, raw, haunting piece, its detached fury indicative of the undiminished powers of a great American artist who will celebrate his seventy-fifth birthday in October.” - The New Yorker

“Finally a 9/11 work that manages to communicate the complex and often contradictory range of emotions, thoughts and feelings caused by that momentous event, played with power and precision by the Kronos Quartet. Steve Reich has written a truly profound work.” - Gramophone

“WTC 9/11 is Reich's concise memorial to the World Trade Centre atrocity. It's a restrained, taut piece in three continuous movements, almost ritualized in its plainness, and tremendously powerful in effect.” -The Guardian

WTC 9/11, played by the Kronos Quartet, is one of the most gripping, intense, intelligent, emotionally honest and artistically successful works to come out of the tragedy. - National Public Radio - 10 Favorites of 2011

WTC 9/11 finds Reich in outstanding form; his skillful manipulation of sound resources has created an emotionally raw evocation of he shock, terror and sheer incredulity of that day” -BBC Music Magazine

Haunting and harrowing, with a score both alarming and consoling, WTC 9/11 packs a most powerful punch. - The Independent - UK

The musical memorials to 9/11 are still arriving but, in the end, how many will match the dark power of Steve Reich’s “WTC 9/11? The musical material comes directly from the sampled voices of air traffic controllers, FDNY workers, neighborhood residents, and those who kept watch over the bodies. The rigor and directness of the voice-music connection makes for the work’s stark power. - The Boston Globe

The brief, intense piece, which ended with mourning notes and singing in Hebrew from the Psalms, was both intellectually provocative and deeply moving - Spin Magazine

I assure you, people will look back on WTC 9/11 for years and acknowledge it as one of the most important American compositions of this decade. - CMJ - College Music Journal

I find the whole work startling, emotionally charged and moving. - BBC Radio 3 - CD Review

The result is a score that grabs you and holds you fast until it ends. WTC 9/11 is a masterpiece. - American Record Guide

and Mallet Quartet, performed by So Percussion:
"Mallet Quartet," performed by So Percussion on vibraphones and five-octave marimbas, is intricate, ebullient, propulsive, sublime. - Seattle Times

The fifteen-minute composition was some kind of miniature crystal cathedral of sound, full of light and air. At a point about a third of the way through, when the hive-like activity of the mallets seemed to drop through a trap door and be instantaneously replaced by a lyrical slow section, the effect was breathtaking. - Spin Magazine

Performed here by one of the piece's co- commissioners, New York's superb So Percussion, the Mallet Quartet possesses a quiet beauty that, almost despite its subtleties, demands to be heard.- National Public Radio - 10 Favorites of 2011

The splendid Mallet Quartet, in which two intricate fast movements frame a brief slow rhapsody whose frank lyricism marks a new turn for Reich. - San Francisco Chronicle

Like everything he writes, it's wonderfully lucid, and calculated precisely. - The Guardian



Stern Auditorium
April 30, 2011
Steve Reich
Four Newest Pieces

WTC 9/11 (2010) - NY Premiere
Kronos Quartet
Mallet Quartet (2009) - NY Premiere
So Percussion
2x5 (2008) - NY Premiere
Bang on a Can & Friends
Double Sextet (2007)
8th Blackbird & Friends

The New York Premiere of his newest work WTC 9/11, performed by the Kronos Quartet, includes the pre-recorded voices of the air traffic controllers, fire men and survivors of the 9/11 attacks. In addition the New York Premieres of 2x5 for all live rock instruments played by Bang on a Can& friends and Mallet Quartet performed by So Percussion will be presented. Finally Eight Blackbird & friends will give an all live performance of Double Quartet which won the 2009 Pulitzer Prize in music.


A new DVD of Steve Reich with excerpts of live performances of Music for 18 Musicians, Tehillim, Different Trains, Proverb,Drumming-Part One, Clapping Music, It's Gonna Rain, Piano Phase, Pendulum Music, Sextet and the World Premiere of 2x5 performed around the world in Tokyo, Rome, New York, Manchester and Normandy. Euroarts 3058128


Double Sextet
performed by Eighth Blackbird
performed by Bang on a Can
released by Nonesuch in September 2010 has been on the Best of 2010 lists of:

NPR ('Reich's innovations across the decades seem to have been distilled and polished to a sheen not heard before)
iTunes (Best Contemporary Classical),
Grammophon ('like an exploding diagram of a rock band playing at full tilt')&
San Jose Mercury News ('Reich's formal perfection opens up to reveal bubbling traces of rock'). Critics add:
BBC Music: 'Beautifully poised throughout, Double Sextet stands as arguably one of Reich's finest works',
Guardian/Observer: 'It's fresh, hypnotic and beguiling and shows Reich on a new curve of invention.'
The Philadelphia Inquirer: 'among the finest pieces of our time'.
The Wall Street Journal: 'Double Sextet, an irresistible 22 minute workout won Mr. Reich a long-overdue Pulitzer Prize'.

Both pieces will be performed live with an expanded Eighth Blackbird & Friends and Bang on a Can & Friends at Carnegie Hall on April 30, 2011.
Also on the program will be the New York premiere of Mallet Quartet performed by So Percussion and the New York premiere of WTC 9/11 performed by the Kronos Quartet.


Steve Reich awarded Pulitzer Prize in Music
for Double Sextet

Lee Bollinger, President of Columbia University, presents 2009
Pulitzer Prize in music to Steve Reich

On April 20, 2009 the Pulitzer Board announced that Steve Reich won the 2009 Pulitzer Prize in Music for his 2007 piece, Double Sextet. This piece was commissioned by Eighth Blackbird, premiered by them in 2008 in many cities in America and abroad. It will be recorded by them for Nonesuch records later this year. The score is available from Boosey & Hawkes.

To hear a short excerpt of a live performance click here.


New Videos added December 2008

Several new videos have been added to the Multimedia/video page including the complete South Bank Show from the Steve Reich Festival in London in 2006. Also added are videos of Steve Reich and David Cossin's 'Piano/Video Phase', a performance of part of 'City Life' by the Ensemble Modern and a performance of 'Eight Lines' by the London Steve Reich Ensemble.


Paul Sacher Foundation Acquires Steve Reich Collection

The Paul Sacher Foundation has entered into an agreement with the American composer Steve Reich (b. 1936) to take over his musical archive. The working papers of this internationally renowned artist will shortly be made accessible to scholars at the Foundation's premises in Basel. Other composers whose musical archives are in the Paul Sacher Foundation collection include Stravinsky, Bartók, Webern, Ligeti, Berio, Boulez, Varese, Carter, Feldman, Nancarrow and Andriessen among many others.


New Articles and Interviews

As of August 9, 2008 there are now eleven articles by Alex Ross, Richard Serra, John Adams, Michael Tilson Thomas and others as well as two new interviews with Jonathan Cott and Anne Teresa de Keersmaeker in the Article section of this site.
Click here for the new articles and interviews.


Daniel Variations released by Nonesuch April 8, 2008

Daniel Variations (2006) combines text by  Daniel Pearl, the American Jewish reporter and violinist murdered by Islamic fundamentalists in Karachi in 2002 together with text from the Biblical book of Daniel. This premiere recording of Daniel Variations is performed by the Los Angeles Master Chorale conducted by Grant Gershon. This new Nonesuch CD also includes the first recording of Variations for Vibes, Pianos and Strings (2005) performed by the London Sinfonietta conducted by Alan Pierson.


Steve Reich wins Polar Music Prize 2007

On May 21, 2007 Steve Reich was awarded The Polar Prize from the Royal Swedish Academy of Music. The prize was presented by His Majesty King Carl XVI Gustaf of Sweden. The Swedish Academy said: "...Steve Reich has transferred questions of faith, society and philosophy into a hypnotic sounding music that has inspired musicians and composers of all genres." Each year both a classical and a pop or jazz musicians are chosen. Former winners of the Polar Prize have included Pierre Boulez, Bob Dylan, Gyorgi Ligeti and Sir Paul McCartney. This year the prize for jazz was awarded to Sonny Rollins


New 5 CD box, 'Phases' released by Nonesuch in September 2006

Nonesuch records has released its second boxed set of music by Steve Reich entitled 'Phases - A Nonesuch Retrospective', and sold at a special reduced price. Included in the 5 CD box are a large number of Steve Reich's best know works including, Music for 18 Musicians, Drumming, You Are (Variations), Different Trains,Tehillim, The Desert Music, Cello Counterpoint, Eight Lines, Proverb, Come Out, Music for Mallet Instruments, Voices and Organ, Electric Counterpoint, New York Counterpoint and Triple Quartet. Various Artists include Pat Metheny, Kronos Quartet, Michael Tilson Thomas, Steve Reich & Musicians and Evan Ziporyn.


Steve Reich awarded Praemium Imperiale for Music 2006

On October 18, 2006 Steve Reich was awarded the Praemium Imperiale for his contribution to the arts. The award was presented by Prince Hitachi at the Meiji Hall in Tokyo . The Praemium Imperiale awards are given annually by the Japan Art Association in five fields not covered by the Nobel Prizes: Painting, Sculpture, Architecture, Music and Theatre/Film. Previous recipients of Praemium Imperiale include Willem de Kooning, Pierre Boulez, Luciano Berio, Gyorgy Ligeti, Frank Gehry, Richard Serra and Stephen Sondheim.


Reich@70: international events announced
full information at: www.reich70.com

Celebrations of Steve Reich’s 70th birthday on 3 October 2006 are already underway, with surveys of his output around the world.

Boosey & Hawkes has worked closely with performing organisations and venues to co-ordinate Reich@70 events. The calendar includes a London retrospective, a rare celebratory collaboration between presenters in his hometown of New York, and a collection of concerts in Los Angeles.

If you are planning Reich events and would like them included in our calendar please email your local B&H office:
North America: composers.us@boosey.com
Europe, Far East and Australasia: composers.uk@boosey.com
German speaking territories: composers.germany@boosey.com

Please visit our new website at www.reich70.com

Performance highlights include:

5 January 2006

To inaugurate the birthday year, Marin Alsop leads members of the Colorado Symphony in an all-Reich program featuring Tehillim and Different Trains

17-19 February 2006

Reich is featured composer at RTE's Living Music Festival, including Three Movements and Variations for Winds, Strings, and Keyboards, a Reich Marathon with six concerts on one day, and the Irish premiere of You Are (Variations) with Ensemble Modern.

1/4 March 2006

Reich feature at Festival des Musiques Contemporanies including Music for Eighteen Musicians performed by Barcelona 216. Concerts take place in Barcelona's L'Auditori.

European Tour (ECHO)
18 March – 3 April 2006

New collaboration between Steve Reich and choreographer Akram Khan, Variations for Vibes, Piano and Strings, features the London Sinfonietta conducted by Bradley Lubman. European Concert Halls Organisation (ECHO) venues include Philharmonie Cologne (18 March), Cité de la Musique Paris (22 March), Palais des Beaux Arts Brussels (23 March), Konzerthaus Vienna (26 March), Concertgebouw Amsterdam (29 March), Symphony Hall Birmingham (30 March), Megaron Athens (3 March). The tour programme also includes Sextet and Different Trains .
Visit our News Centre  for further details.

Los Angeles
25-30 March 2006

Reich works at Los Angeles Philharmonic's Minimalist Jukebox  festival, curated by John Adams, include Variations for winds, strings and keyboard, Three Movements and Tehillim .

28 March 2006

Tivoli Hall plays host to all-Reich programme including the Scandinavian premiere of You Are (Variations)

7/9 April 2006

Three programmes by Ensemble Modern at the Festspielhaus include City Life, Tehillim, Triple Quartet, Clapping Music,  Violin Phase, Music for Pieces of Wood, New York Counterpoint  and Music for Eighteen Musicians. The composer himself will take part in the lecture concert on 9 April (11.30 am)

28 September – 8 October 2006

Phases: the Music of Steve Reich  at Barbican features Steve Reich & Musicians, London Symphony Orchestra, BBC Symphony Orchestra, London Sinfonietta, Kronos Quartet and Bang on a Can. Highlights includes staging of The Cave, a dance triple bill and the world premiere of Daniel Variations for ensemble.
For full details visit the Barbican website

30 September/3 October 2006

The Sibelius Academy presents a pair of all-Reich concerts featuring  Music for 18 Musicians, Eight Lines, the orchestral version of Tehillim, and the rarely heard Six Pianos.

2-4 October 2006

Graz Studio Percussion tours an all-Reich program to three Austrian cities, performing City Life, Music for Mallet Instruments, Voices, and Organ, Sextet, and Electric Counterpoint in Vienna (2 Oct.), Graz (3 Oct.), and Innsbruck (4 Oct.).

New York
3 October – 4 November 2006

Concerts at BAM Next Wave festival, Carnegie Hall, and Lincoln Center featuring Steve Reich & Musicians, Kronos Quartet, London Sinfonietta.  Whitney Museum to show Three Tales and present program on 15 October featuring Alarm Will Sound, So Percussion, Prism Sax Quartet, and Tactus. 
For full details read the Press Release .

3/5 October 2006

Reich festival with Klaus Simon's Holst-Sinfonietta and VOCALS 12/21, featuring Know What Is Above You, Vermont Counterpoint, Come Out, City Life and Music for 18 Musicians, in connection with a new Naxos recording

12-18 November 2006

Steve Reich and Musicians tour of Daniel Variations and Music for Eighteen Musicians, including Casa da Musica in Porto and Cité de la Musique in Paris.

7 December 2006

The Amadinda percussion ensemble and the Uzme ensemble present an all-Reich program featuring You Are (Variations) and Electric Counterpoint at Béla Bartók National Concert Hall.

Los Angeles
28/29 January 2007

LA Master Chorale performs the West Coast premiere of Daniel Variations, paired with You Are (Variations), 28 January at Disney Hall; University of Southern California hosts all-Reich concert at Thornton School of Music, 29 January. 

Please visit our Performances  area for a detailed calendar of Reich events over the coming months.

Reich photo © Jeff Herman


Major Festival of Steve Reich@70 at Barbican Centre, London September 28-October 8, 2006.




Read the press release


You Are (Variations) named on Best of 2005 Classical CD lists by New York Times, Los Angles Times, Washington Post, Amazon.com and others

Named on Best of 2005 Classical CDs by the New York Times, Los Angeles Times, the Washington Post, New York Newsday, BBC Radio 3 CD Review, San Jose Mercury News and Amazon,com, 'You Are (Variations)' recorded by the Los Angeles Master chorale conducted by Grant Gershon for Nonesuch has also received exceptionally positive international press and web coverage. Some samples:

"Mozart's 250th birthday and Steve Reich's 70th birthday will take up a lot of 2006's musical oxygen, and welcome they are to it.

As for Reich, turn to "You Are (Variations)," a modern masterpiece by a composer with a downright Mozartean command of Minimalism. He wrote the piece in 2004 for the Los Angeles Master Chorale, which has recorded it for Nonesuch. It begins with a text by a Jewish mystic -- "You are wherever your thoughts are" -- which, like this exciting music, cuts through the holiday season hooey like a knife through soft butter."
Los Angeles Times Dec. 8, 2005

''Say little and do much,'' the final Hebrew text of the four-part ''You Are (Variations)'' advises. It could be an epigram for Steve Reich, who, with this work, achieved a particularly felicitous synthesis. All that was lacking, once again, was the Pulitzer Prize.
New York Times Dec. 16, 2005

"The aphoristic nature of the texts and their accompanying musical ideas give the work its power. The performance positively glitters...Cello Counterpoint, which rounds off the disc sounds very often as though there were one gigantic humming, strumming instrument. There's no doubt that this is a work of real substance."
Gramophone - UK, October 2005

In terms of its style, Steve Reich's You Are (Variations) (Nonesuch 7559 79891-2 ) (5 stars) represents both recollection and rejuvenation. There are echoes of his Minimalist phase, of Sextet's dense harmonies, Tehillim's high-flying vocal lines, the word based drama of Different Trains and the world of early music. Reich's textual prompts were Wittgenstein and Jewish religious sources, his responses gritty, urgent, organic, wildly dancing - and strangely beautiful. The forces called for - here, members of the Los Angeles Master Chorale under Grant Gershon - include voices, woodwinds, pianos and marimbas. It's the sort of music Reich does best, intimate yet outgoing, and surely his most compelling piece since Different Trains.
The Independent - UK, September 27, 2005

You Are (Variations), his newest major work and the centrepiece of his latest CD on Nonesuch, is an austere and beautiful setting of four short statements, three from Hebrew texts and one from the philosopher Ludwig Wittgenstein. The rhythm of the words is reflected in the whole structure of the piece, whose canonic repetitions of the texts is a form of active meditation on what they mean and also how they feel as verbal or ritual actions.
The Globe and Mail - Canada- October 29, 2005

You Are (Variations) is fascinating, the textures unique and fresh, the experience haunting and captivating... This is undoubtedly some of Reich's finest work in years.
Amazon.com editors

You Are is prime Reich, using choral and orchestral elements similarly to Tehillim and The Desert Music, but as rhythmically driven as anything he's done in years....The closing track, Cello Counterpoint, featuring cellist Maya Beiser (Bang On a Can) overdubbed eight times to create a surprisingly dense string ensemble. Its marked accents and interweaving melodies sound great all performed by one person...I read someone call him the "greatest living American composer," and though any all encompassing title is debatable, you'd be hard pressed to find a more fitting example of individualism and stubborn will so often identified with this place.
Pitchfork.com - 1/10/06



Premiere recording of 'You Are (Variations)'
and 'Cello Counterpoint'
released by Nonesuch Records September 27, 2005

''You Are (Variations)' (2004), performed by the Los Angeles Master Chorale conducted by Grant Gershon and 'Cello Counterpoint' (2003) performed by Maya Beiser have been released by Nonesuch Records. The critical response to performances of 'You Are (Variations)', premiered by the LA Master Choral under Grant Gershon at Disney Hall in Los Angeles in October 2004 and then later by the Ensemble Modern and Synergy Vocals under Stefan Asbury in Frankfurt and London have been unanimously positive:

"With "You Are," the Master Chorale got a masterpiece."
Los Angeles Times - Oct. 26, 2004

"As beautiful a piece as Reich has ever written."
Telegraph -UK - January 20, 2005

"The music is in every case rich and challengingly complex too, constantly coming up with fresh angles to the composer's trademark rhythmic energy and contrapuntal complexity."
The Independent - UK - January 25, 2005

'Cello Counterpoint' has been frequently performed by Maya Beiser in America and Europe since 2003 and critical reaction has been similarly

"The piece's thematic transformation is so inventive and organic that it easily takes its place among Reich's best"
The Philadelphia Inquirer - February 13, 2005

"The work is abuzz with undulant rhythmic syncopations and spiraling counterpoint."
The New York Times - November 1, 2003

"Cello Counterpoint's rhythmic intensity and intricate interaction between live and prerecorded parts is intoxicating, with all that rich cello sound." The Los Angeles Times - February 7, 2005

Upcoming performances of 'You Are (Variations)':
October 29, 2005 - Netherlands Premiere - Ensemble Modern and Synergy vocals conducted by Stefan Asbury - Concertgebouw, Amsterdam
October 30, 2005 - Canadian Premiere - Soundstream Ensemble, MacMillan Theater - Toronto
November 16, 2005 - French Premiere - Ensemble Modern and Synergy Vocals conducted by Stefan Asbury- Festival d'Automne a Paris - Theatre du Chatelet
November 17, 2005 - Ensemble Modern and Synergy Vocals cond. by Stefan Asbury - Theatre de Caen, Caen, France
March 28, 2006 - Scandinavian Premiere - Ars Nova, Copenhagen & Athelas Sinfonietta, Paul Hillier, Cond., Copenhagen, Denmark
October 28, 2006 - New York Premiere - Los Angeles Master Choral conducted by Grant Gershon - Lincoln Center's Alice Tully Hall, New York City.

Upcoming performances of 'Cello Counterpoint':
November 9, 2005 - Slovak cello octet Cellissimo, Theater Arena, Bratislava, Slovakia October 22, 2006 - Maya Beiser - Carnegie Hall's Zankel Hall, New York City


Reich awarded MacDowell Colony Medal

L to R: David Lang, Steve Reich and Richard Serra

The annual MacDowell Colony Arts Award, which in past years has been awarded to Aaron Copland, Willem deKooning, Jasper Johns and many other great artists, was presented to Steve Reich for 'his outstanding contribution to music' on August 14, 2005 at the Colony in Peterborough, NH. Sculptor Richard Serra and composer David Lang spoke about Reich's music before the presentation. The president of the Colony, Robin Mac Neil presented the award. The So Percussion ensemble performed two of Mr. Reich's works to close the ceremony.

Steve Reich receives MacDowell medal from Robin Mac Neil

photos by Joanna Eldredge Morrissey

  On September 5th, 2005 Signum Records in UK will release a new CD of Different Trains. Triple Quartet and Duet performed by the Smith Quartet

On May 10th, 2005 'Steve Reich & Musicians Live 1977' performing at the Kitchen in New York City will be released

It includes live and unedited performances of 'Six Pianos', 'Pendulum Music', 'Violin Phase', 'Music for Pieces of Wood' and 'Drumming-Part IV'. These are not studio recordings. There is background traffic noise on 'Violin Phase' and 'Music for Pieces of Wood', and yet there is the real musical energy of intense young performers including the composer.
Released by Orange Mountain Music 0018.


New 'Drumming' CD performed by
So Percussion released by Cantaloupe
Records March 8, 2005


New Release of Different Trains (for string orchestra), Triple Quartet and The Four Sections by the Orchestre National de Lyon conducted by David Robertson on Naïve label, number MO 782167


Oxford University Press has published a paperback edition of Steve Reich's "Writings on Music 1965-2000" in October 2004

"Steve Reich's music struck me by its originality, directness and ingenuity. Its very simple building principles lead to a highly complex and rich music. Utterly enjoyable, it is by no means simple. On the contrary, it is in a very elegant way surprisingly sophisticated."
– György Ligeti, composer

"When I moved to NYC at the end of the 1970s, Steve Reich's music hit me with a ferocity equal to that of all the exciting rock-based music (from Television to Glenn Branca to DNA) being made at the time. My admiration for and inspiration from his music has not let up ever since. His is some of the most important music to be made in the twentieth century, and to read him write about it with such clarity sheds new light on it."
– Lee Ranaldo, guitarist, Sonic Youth

"At last — an indispensible glimpse into the mind of one of the most significant composers of the late 20th century. Steve Reich's 1968 text 'Music as a Gradual Process' was a statement as revolutionary as the musical practice it describes."
– Michael Nyman, composer


STEVE REICH & MUSICIANS perform DRUMMING (complete) Thursday 14 October, 2004 7:30pm

The Great Hall at Cooper Union (7th Street and Third Avenue) All tickets $30 general admission (students/seniors $15 at the door only, subject to availability) House opens at 7pm sharp Advance tickets on sale 13 September via www.TicketCentral.org or by calling 212.279.4200 (1-8pm daily)


Two video excerpts added to the site for viewing - July 28, 2004.

The first, 'Clapping Music' (1972) is an archive video tape made by the composer in 1974 of Russell Hartenberger and himself performing the piece.

image: Beryl Korot

The second, 'Nibelung Zeppelin' is from the video opera 'Three Tales' (2002) by video artist Beryl Korot and composer Steve Reich. It is the second scene of Act I, 'Hindenburg'. The basic musical material is the Nibelung leitmotif from Wagner's 'Das Rheingold' completely recast in percussion and string canons. The visual material, highly edited, is taken from the construction of the Hindeburg Zeppelin in 1935 in Frerickshaven, Germany. At the end one sees the gigantic completed machine, enormous Swastikas on its tail fins - a flying monument to the Germany of Wagner and Hitler. The DVD & CD package of 'Three Tales' is on Nonesuch records 79662.

Available at Amazon.com

Both pieces are in the Video section.


Special DVD taping/concerts at The Roxy nightclub Sunday, February 1st at 4:00pm and 8:00pm.

The works to be recorded by the Alarm Will Sound Ensemble are "Violin Phase", "Sextet", "Music for Mallet Instruments, Voices, and Organ", and vocal music from "The Cave".

The $20 price of admission includes a free copy of the DVD when it is released (projected release in 2004).

The Roxy (www.roxynyc.com)is located at 515 West 18th Street, near 10th Ave.
(Doors close 15 minutes before each show.)

For more information:
www.sweetspotdvd.com or www.alarmwillsound.com


Three Tales DVD/CD selected best of 2003 by the New York Times, The Guardian UK and Time Out-London.

Three Tales to be broadcast by Independent Film Channel starting January 12, 2004.

Three Tales is being broadcast on the IFC channel starting Monday January 12th at 12:45 pm (Eastern) and again the same day at 11:30pm (Eastern). It will be re-broadcast on IFC throughout the months of January and February and possibly into March. Consult your channel guide for further info.

The New York Times - Best Classical CD's of 2003

Steve Reich Ensemble, Synergy Vocals, conducted by Bradley Lubman (Nonesuch; CD and DVD) For those who think art has to be about something, "Three Tales" offers satisfaction on many levels, using words as both sound and meaning, political statements backed up by Mr. Reich's driving rhythms. It stands just fine as an aural experience, but Nonesuch's package includes a DVD, so the work can be seen as conceived: with Beryl Korot's visuals, a video opera.
ANNE MIDGETTE - 21 December 2003

The Guardian - UK
5 December 2003

critics bring you the best CDs, films, DVDs and games for the festive season
Three Tales (Nonesuch 7559798352)
If ever a work was made for DVD it is Steve Reich and Beryl Korot's 2002 video opera, which examines the impact of technology on 20th-century life through three case studies - the Hindenburg airship disaster, the H-bomb tests on Bikini Atoll and the cloning of Dolly the sheep. Reich's music and Korot's visuals are deftly enmeshed, and the work moves steadily from historic newsreels and reportage to ever more exuberant images and clips of polemical talking heads. It's unclassifiable and absolutely compelling.

Time Out - London - The Best Classical CDs for 2003
Steve Reich's multi-media collaborations with his artist wife, Beryl Korot, are meaty, serious(in the best sense) and musically intriguing. Nonesuch's issue of 'Three Tales' respectively 'Hindenburg', 'Bikini' and 'Dolly' make a fascinating earful, even for those who missed the staged events in London.
Martin Hoyle - 17 December 2003


THREE TALES DVD plus CD released by Nonesuch Records

A two disk set containing both a DVD and a CD of the video opera ‘Three Tales’ by composer Steve Reich and video artist Beryl Korot was released in August 2003 by Nonesuch Records in the USA. and Holland. Release for the rest of Europe except France is September, the UK and Japan in October and France in November. Nonesuch is introducing the release at a specially reduced price. The work is performed by The Steve Reich Ensemble with Synergy Vocals conducted by Bradley Lubman. The 65 minute work has been performed in Vienna, London, Berlin, Paris, Amsterdam, Hong Kong, Perth, Turin, Lisbon and at the Brooklyn Academy of Music's Next Wave Festival and the Spoleto Festival in Charleston, SC. It will be performed at the Krannert Auditorium of the University of Illinois at Champaign/Urbana on October 2, 2003 and then at the AtheneumTheater in Chicago October 3 & 4. Critics have written:

“The visual effects are thrillingly virtuosic...The whole 65-minute piece is a huge achievement, visually and musically, which gets more and more engrossing as it goes on.” - The Guardian - London

“So vivid in its aesthetic presentation that it made these historical events as threateningly immediate as a blasting boombox on a subway car. It is physically eerie and beautiful.” - The New York Times

“It is a major work, a sneaky sort of tragic masterpiece, whose sounds and images haunt the mind for days... Reich is the most original musical thinker of our time.” – The New Yorker

Available at amazon.com

For further information visit www.nonesuch.com


BMG/RCA Red Seal releases new CD of CITY LIFE, EIGHT LINES, NEW YORK COUNTERPOINT and VIOLIN PHASE performed by Ensemble Modern.

BMG records has just released, in October 2002, new recordings of City Life,
Eight Lines, New York Counterpoint and Violin Phase, all performed by the
famous Frankfurt based Ensemble Modern. City Life is conducted by Peter
Rundel while Bradley Lubman conducts Eight Lines. Clarinetist Roland Diry
performs New York Counterpoint. Violin Phase is performed by Jagdish Mistry.
The new recordings is BMG/RCA Victor 74321-66459-2

Available at amazon.com


FREE EVENT. Thursday 10 October, 7:30pm Steve Reich and Musicians will perform CLAPPING MUSIC and DRUMMING PART I.

Reich will read from his new book, WRITINGS ON MUSIC, and take part in a discussion with composer Ingram Marshall. A book signing will follow event. No tickets required. The
Great Hall at Cooper Union, Third Avenue and Seventh Street. Doors open at


New CD on Cantaloupe: TEHILLIM & THE DESERT MUSIC performed by ALARM WILL SOUND and OSSIA conducted by Alan Pierson

Cantaloupe Records, produced by Bang on a Can have released a CD with new recordings of Tehillim and The Desert Music in September 2002.

Cantaloupe describes the new disk as follows:

Two Reich masterpieces, definitively recorded, featuring the only recording of the newly revised version of The Desert Music, coupled with a crystalline, high-energy Tehillim. And introducing a brilliant young American conductor, Alan Pierson, who has molded an energetic, tight, optimistic, rhythmic, and memorable sound out of these monumental works.


Oxford University Press to issue WRITINGS ON MUSIC (1965-2000) in May 2002.

From the bookjacket:

In the mid-1960s, Steve Reich radically renewed the musical landscape with a back-to-basics sound that came to be called Minimalism. These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and non-western idioms. His works reflect the steady evolution of an original musical mind.

Writings on Music documents the creative journey of this thoughtful, groundbreaking composer. These 64 short pieces include Reich's 1968 essay "Music as a Gradual Process," widely considered one of the most influential pieces of music theory in the second half of the 20th century. Subsequent essays, articles, and interviews treat Reich's early work with tape and phase shifting, showing its development into more recent work with speech melody and instrumental music. Other essays recount his exposure to non-western music — African drumming, Balinese gamelan, Hebrew cantillation — and the influence of these musics as structures and not as sounds. The writings include Reich's reactions to and appreciations of the works of his contemporaries (John Cage, Luciano Berio, Morton Feldman, Gyorgy Ligeti) and older composers (Kurt Weill, Schoenberg). Each major work of the composer's career is also explored through notes written for performances and recordings.

Paul Hillier, himself a respected figure in the early music and new music worlds, has revisited these texts, working with the author to clarify their central narrative: the aesthetic and intellectual development of an influential composer. For long-time listeners and young musicians recently introduced to his work, this book provides an opportunity to get to know Reich's music in greater depth and perspective.

* * *

"Steve Reich's music struck me by its originality, directness and ingenuity. Its very simple building principles lead to a highly complex and rich music. Utterly enjoyable, it is by no means simple. On the contrary, it is in a very elegant way surprisingly sophisticated."
– György Ligeti, composer

"When I moved to NYC at the end of the 1970s, Steve Reich's music hit me with a ferocity equal to that of all the exciting rock-based music (from Television to Glenn Branca to DNA) being made at the time. My admiration for and inspiration from his music has not let up ever since. His is some of the most important music to be made in the twentieth century, and to read him write about it with such clarity sheds new light on it."
– Lee Ranaldo, guitarist, Sonic Youth

"At last — an indispensible glimpse into the mind of one of the most significant composers of the late 20th century. Steve Reich's 1968 text 'Music as a Gradual Process' was a statement as revolutionary as the musical practice it describes."
– Michael Nyman, composer

"Steve Reich's 'voice' is unmistakable — whether in his compositions, his conversations, or his writings on music. Energetic, erudite, often wittily self-referential, Reich's texts offer the same headlong rush of ideas that makes his compositions so breathtaking. This book gives us a unique insight into one of the most eloquent and important composers of our time."
– John Schaefer, host of "New Sounds"

"Steve Reich changed music, across the board, and every thinking musician is in his debt. From Arvo Part to David Bowie, from Ligeti to U2, from the concert hall to the midnight rave — Reich has changed the way we make music. His trademark sound — formal clarity and rigor, manifested in terms of simple beauty — is reflected in these articles and interviews. His writing resonates as deeply as his music."
– Evan Ziporyn, Professor of Music, Massachusetts Institute of Technology and clarinetist, Bang on a Can All Stars

Table of Contents

Steve Reich Foreword
Steve Reich Foreword to Writings about Music 1974
Paul Hillier Foreword
Paul Hillier Introduction

Writings 1965-2000
1. Early Works 1965-68
      It's Gonna Rain 1965
      Come Out - Melodica - Piano Phase 1966-7
      Violin Phase 1967
      Slow Motion Sound 1967
      My name is... 1967
      Pendulum Music 1968
2. Music as a Gradual Process 1968
3. Wavelength 1968
4. The Phase-Shifting Pulse Gate - Four Organs - Phase Patterns -An End to Electronics 1968-70 5. Some Optimistic Predictions 1970
6. First Interview with Michael Nyman 1970
      Early Works - African drumming
7. Gahu 1971
8. Drumming 1971
9. Clapping Music 1972
10. Postscript to a brief study of Balinese and African music 1973
11. Notes on Music and Dance 1973
12. Six Pianos 1973
13. Music for Mallet Instruments, Voices and Organ 1973
14.Music for Pieces of Wood 1973
15. Steve Reich and Musicians 1973
16. Music and Performance 1969-74; 1993
17a. Videotape and a Composer 1974
      b. Dachau 1974 - by Beryl Korot
18. Music for 18 Musicians 1976
19. Second Interview with Michael Nyman 1976
      Music for 18 Musicians
20. Music for a Large Ensemble 1978
21. Octet 197
22. Variations 1979
23. Tehillim 1981
24. Hebrew Cantillation 1982
25. Vermont Counterpoint 1982
26. Eight Lines 1983
27. The Desert Music 1984
      Note by the composer
28. The Desert Music - Steve Reich in conversation with Jonathan Cott 1984
29. Sextet 1985
30. New York Counterpoint 1985
31. Three Movements 1986
32. Six Marimbas 1986
33. Tenney 1986
34. Texture-Space-Survival 1987
35. The Four Sections 1987
36. Electric Counterpoint 1987
37. Non-Western Music and the Western Composer 1988
38. Different Trains 1988
39. Chamber Music- An expanded view 1989
40. Questionnaire 1989
41. On the size and seating of an orchestra 1990
42. Aaron Copland 1990 43. John Cage 1992
44. Kurt Weill, the orchestra and vocal style - An Interview with K. Robert Schwarz 1992
45. The Cave 1993
      A new type of Music Theater
46. Jonathan Cott interview - The Cave 1993
47. Thoughts about the Madness in Abraham's Cave 1994
48. Answers to Questions about Different Trains 1994
49. Duet 1994
50. Nagoya Marimbas 1994
51. The Future of Music 1994
52. Beautiful/Ugly 1994
53. Re: Schoenberg 1995
54. City Life 1995
55. Proverb 1996
56. Music and Language 1996
57. Morton Feldman 1997
58. Berio 1997
59. Three Tales 1998-2002
60. Triple Quartet 1999
61. Know what is above you 1999
62. Two Questions about Opera 1999
63. Ligeti 2000
64. De Keersmaeker, Kylian and European Dance 2000
65. In conversation with Paul Hillier 2000 Bibliography Index

Pre-Order it now from Amazon.com


"Arresting, complex and provocative ... the effect is haunting ..."
The New York Times, on Kronos Quartet's debut performance of Triple Quartet

Nonesuch Records is pleased to announce the release of the World Premiere Recording of Steve Reich's Triple Quartet performed by Kronos Quartet, who commissioned the work and in whose honor it has been written. This new disc, the first to include a new work by Reich since the 1996 release City Life, will also feature first recordings of Electric Guitar Phase and Tokyo/Vermont Counterpoint, as well as the first recording of a newly revised edition of Music for Large Ensemble.

Triple Quartet (1999) is a three-movement work written for three string quartets, and exists in three versions for performance: one for string quartet and pre-recorded tape, another for three string quartets (12 players) and the third for part of an orchestral string section of 36 players. On this recording Kronos pre-recorded quartets two and three and played the quartet one part along with the tape, as they do in live performance.

According to Reich, the initial inspiration for the piece came from the last movement of Bartók's Fourth Quartet. "Its energy was my starting point," he says. While working on the piece, he heard the music of Alfred Schnittke for the first time, specifically his string quartets, which deeply affected his writing, as did Michael Gordon's Yo Shakespeare. Reich says, "the piece became considerably more dissonant and expressionistic than expected," as a result of these influences.

Electric Guitar Phase (2001), performed by the young guitarist Dominc Frasca, is a new version of the 1967 work Violin Phase. It is written for four electric guitars, and on this recording Frasca performs all four parts, which are then overdubbed. The layers create a number of melodic patterns that develop from the combination of two or three electric guitars playing the same repeating pattern slightly out of phase with one another. Key melodic material is played softly at first and then at gradually increased volume, bringing it to the surface of the music and making the listener more aware of how the melodic pattern helps to create texture.

Alan Pierson, director of Alarm Will Sound and the Ossia ensemble from the Eastman School of Music, worked on reconstructing the original score of Reich's Music for Large Ensemble, adding two extra violins to the string ensemble and making the saxophone and voice parts optional. The work was originally written in 1977 and revised for its first recording in 1979. Another reworked version of an older piece is Tokyo/Vermont Counterpoint (2000) for MIDI marimbas (KAT controllers), a new version of Vermont Counterpoint (1981), originally scored for flutes, alto flutes and piccolos. According to Reich it is not only a radically different version than the original, but is clearly "one with a sense of humor."

ALBUM RELEASE DATE: October 16, 2001



New York Premiere of Anne Teresa de Keersmaeker's choreography of DRUMMING at Brooklyn Academy of Music October 16, 18-20, 2001.

Drumming will be played live by the Ictus Ensemble from Brussels all performances in the Gillman Opera House at 7:30pm

Brooklyn Academy of Music
Next Wave Festival
30 Lafayette Ave.
Brooklyn, NY 11217-1486
tickets: 718-636-4100

The Philadelphia Orchestra to premiere the string orchestra version of DIFFERENT TRAINS, conducted by David Robertson
October 25, 2001.

Co-commissioned by the Lyon Orchestra and the Philadelphia Orchestra. The Lyon premiere, also conducted by David Robertson will be on 18 April 2002 (part of a Reich Weekend).

The Philadelphia Orchestra
Academy of Music, Philadelphia PA

October 25 at 8:00 p.m. - Thursday evening
October 26 at 2:00 p.m. - Friday afternoon
October 27 at 8:00 p.m. - Saturday evening

The Philadelphia Orchestra
David Robertson, conductor
Camilla Tilling, soprano

REICH Different Trains
World Premiere of String Orchestra Version
MAHLER Symphony No. 4

For tickets see the Orchestra's web site http://www.philorch.org