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Customers Who Bought This Item Also Bought
|1. Triple Quartet: First Movement|
|2. Triple Quartet: Second Movement|
|3. Triple Quartet: Third Movement|
|4. Electric Guitar Phase|
|5. Music for a Large Ensemble|
|6. Tokyo/Vermont Counterpoint|
Over a decade after their last collaboration - which produced the 150,000-selling Grammy winner "Different Trains" - Steve Reich and Kronos deliver a world premiere recording which features an overdubbed, three-layered performance by the quartet in a work whose expressive energy marks a high point in the composer's compositional style. With a spirit that mirrors its primary source of inspiration - the last movement of Bartok's Fourth Quartet - the TRIPLE QUARTET has met with critical praise in Kronos' concert performances since its composition in 1999. ELECTRIC GUITAR PHASE is a new version of Violin Phase for four overdubbed electric guitars made by the guitarist Dominic Frasco, and takes the original music to a new zone of swirling hypnosis. MUSIC FOR LARGE ENSEMBLE is performed here by young conductor Alan Pierson directing the ensembles Ossia (from the Eastman School) and Alarm Will Sound in a revised edition of the piece with added violins. TOYKO/VERMONT COUNTERPOINT for midi-marimbas (KAT controllers) is a new version of Vermont Counterpoint, originally for winds. Mika Yoshida, a Japanese percussionist, made the arrangement and performs all the parts: A radically different take on the source, and one with a dazzling quasi-electronica feel, as well as a sense of humor. In all, this new Reich assortment - a major new work partnered with fresh versions of other pieces - is a vivid portrait of the artist's work now, as well as a keen reminder of how current his earlier music continues to feel, decades after its composition.
The Kronos Quartet's advocacy of contemporary music is one of the wonders of our time. Here the four players appear in triplicate, performing Steve Reich's Triple Quartet by pre-recording two quartets and playing the third simultaneously with the tape. As they have demonstrated time and time again in their vast repertoire, they possess the razor-sharp precision Reich's music begs for. The clear, closely miked recording means that the interplay of part work is consistently fascinating. The Kronos brings out an almost Copland-like quality in the second movement, which speaks of quiet, open spaces. The four pieces on this disc offer a perfectly balanced, musically satisfying set of contrasts. Electric Guitar Phase is a 2001 version of the 1967 Violin Phase with Dominic Frasca overdubbing the four electric guitar parts. Exuding a purer minimalism than Triple Quartet, Electric Guitar Phase is heady and hypnotic. Music for Large Ensemble is a glittering, xylophone/marimba-decorated panorama of sound, but it is a fitting tribute to the talents of marimba player Mika Yoshida that Tokyo/Vermont Counterpoint acts as a satisfying climax to the disc. Originally for flutes, alto flutes and piccolos and entitled merely Vermont Counterpoint, Yoshida's own arrangement is a truly virtuoso feat, gripping from first to last. --Colin Clarke
Top Customer Reviews
Electric Guitar Phase is a rescoring of Violin Phase, & it sounds very different from the original. The electric guitar, with some distortion, is certainly a change.
The Music for a Large Ensemble on this cd is a revised version of the original piece, & it does sound very different. Good work, Reich, I do prefer the new version on this cd.
Tokyo/Vermont Counterpoint is crazy music. This & Electric Guitar Phase are the 2 pieces on this great cd that feel extremely futuristic in different ways. After numerous times people tried to perform it, this is the only one to satisfy Steve Reich.
I wouldn't recommend this cd as an introduction to Steve Reich's music, but for established fans it's very exciting new music from a protean composer.
Electric guitar phase is amazing. I'd only heard its origional version for violin a few times and the middle and ending were too muddy. The treble and subtle harmonic overtones on the guitar are much better. The best thing about the phasing technique though is that rush you get everytime a new phase locks in. Wow!
I agree with the reviewer below who noticed that the 'Large Ensemble' was not as tight as they could be. The sheer syncopation written into this piece demands aboslute precision and I came away feeling that it hadn't been achieved here. In contrast, I could have done with a less tight vermont counterpoint. THe beauty of all Reich's couterpoint works have been that they allow the ear to 'pick' between following the whole or an individual line. I found this impossible to do here.
THe anchor of the CD (Triple Quartet) was brilliant. I wish that the two other versions (orchestral string section and three quartets live) could've been on the CD as well. In closing the first two peices are the meat and potatoes. The last two peices despite in my opinion their performance flaws, serve as a worthy soup and salad.
ACTUAL NEW MATERIAL (15 minutes)
"Triple Quartet": A slight improvement over other recent ventures ("The Cave," "City Life"), however quite grating to listen to... a lack of critical rhythmic interest with static mildly dissonant harmonic content combines for an unrewarding listen that seems to go on for longer than the 14 minutes it actually lasts. A major disappointment compared to "Different Trains," the previous Kronos collaboration.
RECYCLED FILLER MATERIAL (40 minutes)
1. "Electric Guitar Phase": When this same piece is heard as "Violin Phase" (on the 1980 ECM recording) it's long and somewhat tedious yet rewarding upon further listening with an exciting virtuoso feel that a live violinist brings to the table. As performed on overdubbed electric guitars, it is devoid of humanity and fire, losing all hope of holding the listeners attention for the duration. Why this piece seemed worth recording on electric guitar is beyond me. Ugh.
2. "Music for a Large Ensemble": This arrangement/performance is a little cleaner and more transparent than its ECM cousin (that same record that had "Violin Phase" on it. Hmmm.) You can hear some details here that weren't as apparent on the older recording. However, despite the shiny finish, this performance seems to lack the fresh energy and attack heard on the ECM version. So an interesting listen for the overly Reich-obsessed, but nothing revelatory.
3. "Tokyo/Vermont Counterpoint": Completely inferior to the version for flutes as recorded by Ransom Wilson.Read more ›
Instead of going in order of the tracks on the disc, let me go in order of the date of composition of each piece.
Electric Guitar Phase, though new in this orchestration, is of course 1967's Violin Phase reborn...This might be Reich's most static piece for tradional instruments (that is, besides early pieces for tape or "pendulum music")...For me, the original version of this piece never quite worked - the articulations possible on violin kept it from really "locking in"...This version has solved that problem completely...
The sharp attack on each note or dyad when done on electric guitars makes every new pattern clearer than any violinist could hope for...it's truly a revelation to hear this piece work so well. I always thought "piano phase" to be the best of Reich's phase pieces...I was wrong. This new recording should make listeners really sit up and take note - classical music ain't what it used to be, and thank G-d...one of our greatest composer's best pieces turns out to be for a bunch of electric guitars!
The next work (chronologically) is "Large Ensemble"...compared to the old ECM recording, I'm not convinced that this ensemble is playing as tightly as this piece needs them to...but at the same time, the sound quality is of course much better and warmer than the old recording. This one you can judge for yourself. I haven't totally made up my mind one way or another on this one...Read more ›
Most recent customer reviews
From the sharp, discerning Triple Quartet, to Tokyo-Vermont Counterpoint, this CD is worth hearing to see an insight into Reich's later works, (starting with Triple Quartet), and... Read morePublished on June 10 2004 by Jonny B
The rest of it is actually pretty boring. not boring like the desert music though so it's okay.Published on May 21 2003 by Matthew G. Taylor
Here you get a lot of Reich minimalist styles over the years.
Kronos play -as usual- well on this one in Bartok style and they taped themself and overdubbed it with a stunning... Read more
Here Steve Reich offers a refreshed experiencing of the old pieces Violin Phase & Music for a Large Ensemble. Read morePublished on March 14 2002
A characteristic of better performances of Steve Reich is the how the dense rythmic structure creates a complex and expansive aural space. Read morePublished on Dec 1 2001 by Matthew Phillips
While Philip Glass continues to crank out formulaic mush that sounds like everything else he's written, Steve Reich has continued to evolve and change as a composer. Read morePublished on Oct. 29 2001 by Jeff Abell
The first piece on this disc--the Triple Quartet--may be startling to listeners familiar with Steve Reich's music. Read morePublished on Oct. 19 2001 by Daniel Johnson