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Sarah Hicks and Sam Bergman

Wednesday, April 22, 2009

A Legend Gets His Due

The 2009 Pulitzer Prizes were announced the other day, and fans of minimalist uber-composer Steve Reich are rejoicing that their man has finally been honored. Reich, whose "Clapping Music" was responsible for changing the way a huge number of people thought about concert music (ItC fans who go back to the David Alan Miller days may remember that David featured Clapping Music on his final Casual Classics program back in 2007,) has never slowed down in the 37 years since he wrote that seminal work, and the Pulitzer honors one of his newest works, a Double Sextet commissioned by new music wunderkinds eighth blackbird, who themselves walked away with a Grammy recently.

Now, one of the great things about eighth blackbird is that they produce a LOT of online content, both audio and video, so there's no need to wait for a studio recording of the Double Sextet to hear what so impressed the Pulitzer committee. Here's a clip of the blackbirds taking their first rehearsal crack at the piece...



And here's a behind-the-scenes look at the recording session the group did last year to lay down the "other" sextet part that plays simultaneously with their live performances of the piece...



Lastly, for those of you in Los Angeles (and we know there are a couple of you, at least,) the blackbirds will actually be performing the Double Sextet this very weekend at the Colburn School of Music, as part of a weeklong residency they're doing there. You can check out the group's concert schedule here (but note that they change up their repertoire a lot, so the Reich, which premiered last month, may only be on a few upcoming programs,) and read their own blog post on the Pulitzer announcement here...

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5 Comments:

Anonymous RN said...

Sam,

I followed the links, watched, and listened. I just don't 'get' the minimalist, repetitive, percussive nature of so much new music. A few years ago I attended several new music events and subscribed to a couple of series. The LA Phil also plays a lot of it in subscription concerts. I had the same reaction as I have to the Pulitzer-winning piece - I gave up.

There's a lot of terrific percussion-heavy music out there. I look to South Asia for it. To me, this material doesn't compare.

--- Respectfully bewildered in LA

April 22, 2009 at 11:47 PM  
Blogger Sam said...

It's a funny thing about minimalism. People seem to either be completely entranced by it, or they absolutely hate it, and in my experience, there's no predicting who will react which way. (I know people who hate thorny, atonal music but love Philip Glass.) At our last Composer Institute, the piece that got by far the strongest positive reaction from the audience was a straight minimalist piece by David Schneider.

I tend to go back and forth on minimalism: I like it when it's done very, very well (as in Reich's best stuff and several of John Adams's better works,) but my tolerance for mediocre minimalist music is far lower than for other styles of composition.

It's certainly not possible to get a real sense of the Double Sextet from these short YouTube clips. I posted them mainly for the interest factor of seeing musicians working on a difficult new work that no one's played before...

April 23, 2009 at 9:25 AM  
Anonymous RN said...

"I tend to go back and forth on minimalism: I like it when it's done very, very well (as in Reich's best stuff and several of John Adams's better works,) but my tolerance for mediocre minimalist music is far lower than for other styles of composition."

Do you mean as a listener, performer, both?

We get a lot of Adams here and will certainly get more in the future when he takes a residency and gets a big voice in programming. From Slonimsky's Earbox to Dharma at Big Sur and a couple of pieces I can't name offhand, I've left the auditorium unhappy at best and angry at worst.

It seems like there are at least two camps of new music - one that relies on theory and technology and another that ... doesn't. I've liked pieces by Schnittke, Rouse, and Harrison but they aren't often programmed. The latter's double concerto for violin, cello, and gamelan is rather terrific.

April 23, 2009 at 10:27 AM  
Blogger Sam said...

Do you mean as a listener, performer, both?Both, no question. Minimalist music is a tough row to hoe as a performer in the best of circumstances. I can tolerate it while my shoulder screams at me if I have the sense that the audience is really getting something out of it.

I think composers in today's post-genre world have a lot of tough decisions to make about things like technology and the checkered history of 20th-century concert music. It will be very interesting to see what composers a generation or two from now have taken from this period of relative freeform expression...

April 23, 2009 at 10:54 PM  
Anonymous Anonymous said...

Reich really is a legend, and I am utterly fascinated by his music. Back in '04 I simply started going nuts over it and I bought every cd I could get my hands on. Of course I don't cherish the music like I do Mozart's Clarinet Concerto for instance. What I enjoy most is the amount of creativity involved. My gosh, when I first heard "Four Organs" I had the biggest grin on my face...due to amazement and some disbelief too, but I love it.

"Three Movements for Orchestra" is my favorite Reich piece and 'i wish like heck the MN Orch would get it on a program somehow.

As far as John Adams - I have virtually every Adams recording ever issued in my library. My 2 favorite pieces are "Harmonium" (one of the greatest choral pieces ever composed - by anyone) and "Christian Zeal and Activity" (I smirk all the way through it every time).

Steve Reich and John Adams - these two men are brilliant human beings.

April 24, 2009 at 6:09 PM  

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