I had high hopes for this album when it was released. I had thoroughly enjoyed Bang on a Can's 'Industry', and also Michael Gordon's 'Weather' and 'Trance', as well as some other pieces by David Lang.

Not only was I thouroughly disappointed at this, I was actually infuriated at how incredibly dull and irritating it was. Rather than being a bold step (at least for minimalist-influenced composers) forward into newer rhythmic and harmonic territories as was represented to a degree by some of the aforementioned compositions, 'Lost Objects' represents a step backwards into the very safe but entirely uninteresting realm of mediocre, routine and incredibly predictable minimalism (not to imply that all minimalism is uninteresting, as I do not believe that this is the case, but this certainly is).

I have the feeling with this CD that the composers could almost have written it in their sleep, and that's what really gets me; because they are composers capable of music so much more interesting and vibrant than this. Much of it resembles someone trying to sound like John Adams, but but possessing neither the sense of colour, form or scale to pull it off.

Furthermore, I feel that it fails in terms of the "crossover" attempt at fusing rock elements and instrumentation with that of classical or contemporary classical, and as a result disappoints on both counts. Not only does it lack the rhythmic vibrancy of rock (or indeed of earlier BOAC releases, or those by Icebreaker) but it also lapses into all of the usual minimalist cliches (for example, listen to the very typical minimalist endings of tracks 2, 3, 5 & 10).

If you're looking for a good minimalist work with orchestra and choir, then go and buy the Nonesuch release of John Adams' 'Harmonium', or Steve Reich's 'The Desert Music' - they each have so much more going for them.

In short: 'Lost Objects' is by-the-numbers minimalism minus the patience, spirit and artistry of classics such as 'Music for 18 Musicians' and 'Shaker Loops' to name but two. If you're expecting the edgy sound of earlier Bang on a Can releases, then you will be disappointed by this release. Go and seek out the earlier BOAC release 'Industry', or Gordon's works 'Weather' or 'Trance'; even try some Louis Andriessen, all worth a listen. I think that Gordon, Wolfe & Lang really missed the mark with 'Lost Objects'.

This is highly recommended as a quick reference guide on how to produce notation that is correct both in terms of the notational details (exactly when should I alternate stem direction in a divisi passage? When should I use octave signs?) and the overall layout (Where do I put the composer/arranger/lyricist credits?). If you are a composer, you should probably own this book. If you are a music student, you should definitely own this book - you will find it invaluable, and at an excellent price.

(Those looking for a much more in-depth discussion of modern music notation conventions should search for Kurt Stone's 'Music Notation in the Twentieth Century'.)

While not as comprehensive as the larger texts (I would recommend Alfred Blatter's 'Instrumentation & Orchestration' and Samuel Adler's 'The Study of Orchestration'), this is a great quick reference book, with information on instrumental range, timbral characteristics, dynamic contour and other useful facts. This book is ideal for composers/arrangers on the move and at the excellent price is a must for music students.

There are few pieces in my opinion that one can continually return to and still be as moved as when they heard it for the first time, never tiring of hearing the same music; but for me, this was one such piece. Seven years after originally buying it, 'Music for 18 Musicians' still sounds as fresh as on that first day.

Along with Miles Davis' 'Kind of Blue', 'St. Matthew Passion', and Nancarrow's 'Studies', Music for 18 Musicians was for me one of those rare landmark musical events that dramatically changed the whole way I thought about music.

18 Musicians suits the characteristic sound of the ECM label perfectly. Of the three recordings now readily available (the other two being the Nonesuch and the RCA Victor) this is by far the best and most balanced. ECM also resisted the temptation to split the piece into separate tracks, resulting in a CD with one single track on it - which is how this piece should be heard. The cover art (which, incidentally is by Reich's wife, the artist Beryl Korot) is ideally suited to the wonderful, shimmering sonic experience that is 18 Musicians. Indeed, everything about this release is just right.

If you buy only one Minimalist CD in your life, then buy Music for 18 Musicians, and if you decide to buy it, make sure it's this recording!

There are few pieces in my opinion that one can continually return to and still be as moved as when they heard it for the first time, never tiring of hearing the same music; but for me, this was one such piece. Seven years after originally buying it, 'Music for 18 Musicians' still sounds as fresh as on that first day.

Along with Miles Davis' 'Kind of Blue', 'St. Matthew Passion', and Nancarrow's 'Studies', Music for 18 Musicians was for me one of those rare landmark musical events that dramatically changed the whole way I thought about music.

18 Musicians suits the characteristic sound of the ECM label perfectly. Of the three recordings now readily available (the other two being the Nonesuch and the RCA Victor) this is by far the best and most balanced. ECM also resisted the temptation to split the piece into separate tracks, resulting in a CD with one single track on it - which is how this piece should be heard. The cover art (which, incidentally is by Reich's wife, the artist Beryl Korot) is ideally suited to the wonderful, shimmering sonic experience that is 18 Musicians. Indeed, everything about this release is just right.

If you buy only one Minimalist CD in your life, then buy Music for 18 Musicians, and if you decide to buy it, make sure it's this recording!

If I had to cite one piece of music that stood out as monumental landmark in the music somewhat problematically known as "minimalism", then Reich's 'Music for 18 Musicians' would be it. A beautiful, lush, shimmering piece which sounds as fresh now as it did when it was written about 25 years ago. The experience of listening to this piece never seems to diminish, even with frequent listenings.

That said, the Nonesuch recording overall isn't nearly as well-balanced as the original ECM one. The all-important bass clarinets have been mixed lower. The Nonesuch recording also introduces index points for easy access to sections of the pieces, but the only way to really experience this piece is from start to finish, without a break.

In short, I would recommend the ECM recording over this one for overall sound. (It also has a beautifully apt cover design, featuring artwork by Reich's wife, Beryl Korot).