Customer Reviews

Tehillim

5 star:		(9)
4 star:		(4)
3 star:		(3)
2 star:		(2)
1 star:		(0)

 

 

I strongly disagree with the previous reviewer who rated this CD beneath the one with Reich on the cover. That Nonesuch recording is really a disaster -- the rhythm is mechanical, which makes the performance pretty flat and passionless; the intonation, particularly in the slow movement, is awful (far worse than anything on this disc); and the voices have none of the pop-music lightness that the composer asks for.

This recording, in contrast, is pretty inarguable. It's the first recording and represents the composer's original intentions. In recent weeks, many reviewers have said they prefer the brand new version on Cantaloupe Music (with the red cover) to this old CD, which I can understand. I see both of these as terrific, extremely different interpretations of this Reich masterpiece: this original recording is cool and understated; the new recording more passionate and romantic. You can't go wrong with either one. If you've already heard this recording and feel -- like the previous reviewer -- that there isn't a good Tehillim CD out yet, check out the latest release.

But I don't have many good words to say about the Nonesuch CD with Reich on the cover -- best, I think, to steer clear.

Objectively speaking, this CD is brilliantly and perfectly recorded - the notes are all there, the performance is 100%, and more importantly, the recording engineer turned out a perfectly recorded and balanced CD.

I have not performed this piece, unlike the first two reviewers, but I heard it performed at BAM. Let me say that following a score and keeping one's place while simply listening to a recording is super difficult - but keeping one's place while performing, well, I've never seen a group of performers concentrate so intently on the music as I did at the performance, and that's *not* due to any lack of skill from the musicians. Steve Reich's music is the kind that if you're performing and lose your place, you're done: you sit out at least until the next section. There is no forgiveness for being off by so much as a sixteenth note.

I have followed Reich and his music for 16 years. Much of his music moves me to tears (cf. Music for 18 musicians, The Cave, and Music in Four Sections). But Tehillim (the Hebrew word that Christians translate as "Psalms") I find to be his most beautiful (that's a subjective rating). Although Reich did not compose this as liturgical music, of course it could be used as such, given its holy writ text. If I may climb my theological/liturgical soapbox, Tehillim represents, in fact, how exciting liturgical music *could* be if the Church were but willing. Not only is this music modern (and thus more relevant for today's Church), but it is an incredibly sensitive and moving setting of two psalms. I have listened to it probably 100 times, and each listening still brings tears - the tears that exceptional music brings. Tehillim is beautiful, and that's the highest compliment one can give to any music. It is also challenging and different, and will cause you to rethink your whole idea of what music is and can be, and especially what *liturgical* (Christian, Jewish, and Muslim) music could be.

Musicologically, Tehillim is incredible. The scoring for is 4 female voices, polyphonic and Renaissance-like, with a constant polyrhythmic percussion background (clapping, tuned tambourines, marimbas, maracas, vibraphone, crotales, and string and synthesizer drones among other techniques). The percussion will excite and fill you with joy (and fill you with awe that any group of humans can actually perform it). The vocals will leave you wondering how a performance so beautifully and perfectly precise could come from anything merely human.

Psychomusicologically and physiomusicologically, after every listening of this psalm setting, I feel that all is right with the world. If the final "Hallelujah", one of music's most beatific moments, doesn't lead you to praise God, Allah, or some kind of universal "Other", then, well, I'd be surprised.

This recording belongs in your collection. If you are not a fan of minimalism or Reich or modern music, or are afraid because of it's "religious" overtones, give it a try anyway. It's an absolutely important piece for your music library.

If you are going to buy Tehillim, which I highly recommend, get this recording, not the one with the red cover, which, while I probably would have been delighted by it if I had heard it first, after hearing this recording seems fatuous, heavy-handed, and gurgling with sloppy emotion, the singers mooing away with their faces screwed up in the high-art version of teenager-guitar-hero-face.

I also performed this piece under the supervision and coaching of S. Reich, and I must say it was an extraordinary experience. The previous reviewer said it was Reich's most interesting work "but that's not saying much". Even though he/she gave it 5 stars, this statement might scare some listeners... It is one of the most intense performance experiences I've had, and I highly recommend this particular recording of it. This is truly a wonderful voyage.

Minimalist music easily slips into mere repetition even it the best of composers - a fact that makes some people unwilling to give it a fair hearing. However, Reich shows here that minimalist music can be precisely the right setting for the Psalms. On the cd The Sacred Bridge, you can hear the close resemblance between Gregorian chant settings and Hebrew chant settings for the Psalms. I believe the best way to describe Reich's piece is as a new chant form - minimalistic. The instrumentation is very well chosen - 4 women's voices, a variety of percussion instruments, clarinet, flute, piccolo, oboe, English horn, violins, viola, cello, bass and electric organs. The effect is an agelessness of the sound that is very appropriate to the Psalms. The piece appears to be less repetitive than most minimalist work - variation and canon-like passages predominating.

An excellent addition to the sacred music repetoire.

I am not a lover of classical music but this music unleashes a torrent of hope & tangible power. Still in the minimalist tradition, it may initially sound repetitive but careful listening will reveal subtle and intriguing variations and shifting textures that become more prominent the more familiar one becomes with the music. There is no repetition of short patterns in Tehillim as the meaning and rhythm of the Psalm texts themselves determine the chromatic, harmonic & modal shifts, the rising & descending melodic lines and the constantly changing meters.

I have always found it to be an inspiring, even rousing listening experience with healing properties. The vocals sound like massed angelic choirs in places although consisting of only two lyric sopranos, one high soprano and one male alto, over hypnotic percussive patterns. The original Hebrew text is provided side by side with the English translation and one is overwhelmed by the massive arsenal of instruments employed: maracas, marimba, tuned tambourines, flute, oboe, vibraphone, organs, violins, viola, crotales and cello to mention a few.

Sacred sound in the form of pure sounds, music, song and chant has been applied as medicine from ancient times. Some consider it the most ancient of all therapies. Pythagoras was aware of this. Others who wrote about the therapeutic effect of music on the soul include the Persian scholar Abu Nasr al-Farabi (872 - 951) who discussed music therapy in his book Meanings of the Intellect and Robert Burton in his extraordinary tome The Anatomy of Melancholy (1621).

The four tracks on Tehillim are Psalms 19: 1 - 4, 34: 12 - 14, 18: 25 - 26 & 150: 4 - 6. The first and fourth tracks are the most exuberant & celebratory whilst the third is the slowest. My favorites are the second ("Who is the man that desires life and loves days to see good? Guard your tongue from evil & your lips from speaking deceit. Turn from evil & do good, seek peace & pursue it") and the 4th which opens with the line "Praise Him with drum & dance," an immensely powerful piece that is the most beautiful expression of spiritual ecstasy.

Literally, Tehillim means "praises." The word is derived from the root H-L-L (Hey Lamed Lamed) which is also the source of the word Halleluyah. The Hebrew word for a single psalm is Mizmor. Further information on sonic healing and music therapy is available in Sacred Sounds by Ted Andrews, Words of Power by Brian Crowley and Jonathan Goldman's Healing Sounds: The Power of Harmonics.

Reich's "Tehillim" is not classified as a minimalist work by Reich. However, for the rest of us, it comes pretty darned close.

I played principal violin in the Boston premiere of this work and, in preparation for a second concert, met the man himself.

It's an enchanting piece, but like Reich's other longer pieces, it does get old after a while.

A useful introduction to the minimalist movement. Certainly one of the more interesting works to come out of the genre.

This is an excellent pairing of two of Reich's contrasting styles--Three Movements, an example of the pulsating process-music of his earlier works, reminiscent of Desert Music and the Octet; and Tehillim, a completely different type of piece, one rich in complex melodic material and constantly changing rhythms. To me, "Movements" proves that the processes Reich so successfully employs in his works such as "Music for 18 Musicians" and the Octet can be applied to the larger forces of the orchestra as well. This piece is also quite approachable because it is a bit more melodically and rhythmically varied than some of his earlier works, and is only about 15 minutes total. "Tehillim" is a stylistic contrast. He carefully sets four Psalms in such a way that his genius in layering complex contrapuntal lines is showcased; however, the clarity of the text, which is obviously very important to him, is hardly ever obscured. This is accompanied with instruments which lend just enough of the ancient flavor to the music, without sounding contrived--and always sounding original.

Tehillim differs from most other works by Reich. It has long lyrical melodies. It has singing. The rhythm never repeats itself; it sounds like a random combination of twos and threes. It has chromatic harmonies. It has a more spontaneous, emotional feel, rather than being calculated and mechanical. So even people who don't like Reich's other works might enjoy this one.

I can't discuss the details about the instrumentation and the construction of this piece of music. I appreciate the text (my ancestry is Jewish) but it is the pure music that has stirred my soul since I first heard this not long after it was released. I was living in Tucson and the proprietor of a wonderful little independent record shop always alerted me to fantastic new recordings. Singing has always been important to me but when I heard Tehillim I hadn't been in a choral group in years. It was a riveting clarion call to me, like getting hit with a bucket of cold water. How could I not be doing this music?!? It galvanized me to the point of auditioning for and then singing with the Collegium Musicum at the University of Arizona. For years, I sang along with the LP (then the CD), and pressed copies of it upon my friends. It inspired me to study voice formally, with an old school opera singer who had retired back to Willits. I kept singing with other choirs and choruses, and kept singing with my Tehillim CD. I kept studying voice and now I teach it myself. I have been driven by an unrealistic, impossible dream to someday sing this piece of music. Every time I put on the CD, I can tell that my voice has improved, technically and organically. I know I won't ever actually perform this piece of music (unless it was a Virtual Choir offering), but I keep getting closer to feeling I actually could. After nearly 30 years of devotion to singing, inspired by this amazing piece of music, I know I'll keep doing this until I can't sing anymore, and it will be one of the songs that bears my spirit aloft when I leave this earth. There are other pieces of music that have had an equally transcendent effect on me, but none have inspired me so immediately with devotion to the vocal art so that I could myself do it justice. Is this a review or a paean? If you listen to this music undistracted (a friend missed his freeway exit by miles the first time he heard it), you'll see it inspires both.