Not a lot of people these days have listened to modern classical music. Or rather, not a lot of people WANT to listen to modern classical music. People always go for Beethoven, Wagner, Brahms, or Tchaikovsky, which is fine. However, classical music of the 20th century can be just as good as the music of the Classical/Romantic era. From impressionistic (Debussy, Respighi) to Avant-garde (Penderecki) to neo-classical (Stravinsky), there are many different forms that can be thoroughly enjoyed. Minimalism is one form that seems to be overlooked by the general public. Some people find it uncomfortable to listen to repetitive melodies and simplistic structures (Philip Glass has been parodied for just that). I personally grew fond of it ever since I heard Glass's music from the film Koyaanisqatsi, and now I have yet another genre to explore. And thanks to Glass, I discovered the music of Steve Reich. And thanks to Reich, I am now own a studio recording of "Music for 18 Musicians."
Born in New York City, Reich has been creating his own works since the 1960's. In 1976, he made it big with "Music for 18 Musicians." It's an hour-long composition, and it relies on repetition and harmonic melodies. Scored for (obviously) 18 musicians, clarinets/bass clarinets, xylophones, marimbas, maracas, pianos, female voices, and a violin & cello are required. You would think that a minimal amount of musicians for a one-hour piece wouldn't be very much, but the music offers SO much. I wouldn't necessarily call "Music for 18 Musicians" the greatest minimal piece of all time, but it can be an excellent selection for those who are interested in minimal classical music. True, it's repetitive, but once you listen from beginning to end, you might appreciate the genre a bit more.
As for this specific recording, Ensemble Modern sounds marvelous. Everything seems perfectly balanced; you can hear each instrument clearly from beginning to end. And the sound quality is so clear and refined (another job well done from RCA!).
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Music for 18 Musicians
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Reich, S.: Music for 18 Musicians
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MP3 Music, January 1, 2007
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Product details
- Package Dimensions : 5.6 x 5 x 0.4 inches; 3.2 Ounces
- Manufacturer : Hungaroton
- Date First Available : September 30, 2006
- Label : Hungaroton
- ASIN : B00018D3LO
- Number of discs : 1
- Best Sellers Rank: #862,128 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #5,301 in Techno (CDs & Vinyl)
- #44,041 in Chamber Music (CDs & Vinyl)
- #46,790 in Vocal Pop (CDs & Vinyl)
- Customer Reviews:
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4.4 out of 5 stars
4.4 out of 5
53 global ratings
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Top reviews from the United States
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Reviewed in the United States 🇺🇸 on April 29, 2010
Reviewed in the United States 🇺🇸 on April 22, 1999
Germany's Ensemble Modern does a fine job on this new recording of "Music for 18 Musicians," the first such recording of this piece by an ensemble not directly connected with the composer (although two percussionists from Reich's Musicians do sit in, and Reich was present during the sessions). But for the most part it is interesting to hear what this piece sounds like but performers other than the Reich circle. However, there are only a few flaws in this recording: 1) While some sections are well structured, there were others that did not get enough attention, such as Section IIIa (one of my favorite sections of the piece), which was way too pitifully short; 2) Occasionally some of the female voices therein sounded strained, especially in the high register. On the other hand, the structures to other sections were well defined and the metalophone cut through very well to signal the ensemble to the next module. While the original 1978 recording may still be the winner and champion, this recording makes a fine addition on its own to the "18" lore. My ideal (almost Utopian) recording? To have some of my favorite sections (such as the aforementioned IIIa and b, plus Sections V-VIII (those of you scoring at home will know what I am talking about)) go on for a very long time (hey, I can take it!), and, through the miracle of overdubbing, Joan La Barbara cover all the vocal parts.
Reviewed in the United States 🇺🇸 on July 7, 2004
1. This is totally subjective...
2. Your milage may vary.
3. Fast is not necessarily better. The recent recording of Alarm Will Sound illustrate that a fever pitch, while debatable in terms of fascination, does not work when the performance gets sloppy. There is the same problem in this rendering of "18."
4. Timbre is key; The real capper in this piece is the overall timbre. Commenting on this piece, Reich has alluded to the image of a seashore and waves. The classic ECM recording is the only one in my opinion that preserves this. Many of Reich's pieces, in my opinion, have suffered from too close microphone placement. The result is recordings often discribed as merely "interesting," by the uninitiated, wheras many listeners I've found are completed astounded by the ECM edition of "18."
There are some interesting bits of this performance, but overall not significantly different enough from Esemble Modern's recording. I recommend that all but completists look for the original ECM CD recordig, then to Ensemble Modern.
2. Your milage may vary.
3. Fast is not necessarily better. The recent recording of Alarm Will Sound illustrate that a fever pitch, while debatable in terms of fascination, does not work when the performance gets sloppy. There is the same problem in this rendering of "18."
4. Timbre is key; The real capper in this piece is the overall timbre. Commenting on this piece, Reich has alluded to the image of a seashore and waves. The classic ECM recording is the only one in my opinion that preserves this. Many of Reich's pieces, in my opinion, have suffered from too close microphone placement. The result is recordings often discribed as merely "interesting," by the uninitiated, wheras many listeners I've found are completed astounded by the ECM edition of "18."
There are some interesting bits of this performance, but overall not significantly different enough from Esemble Modern's recording. I recommend that all but completists look for the original ECM CD recordig, then to Ensemble Modern.
Reviewed in the United States 🇺🇸 on July 21, 2020
I have several versions of 18 MUSICIANS. And they each sound a bit different from each other, which one should expect. While musically precise, this version truly presents a youthful quality that stands a little apart from performances by human metronomes of more maturity. All versions swing, but this one has an attractive freshness.
Reviewed in the United States 🇺🇸 on March 5, 2014
I was going to pass on buying this (despite a good review on Kirk McElhearn's blog) since I already have the 1978 ECM recording. But after sampling a selection of this recording, I decided to buy it after all. Music for 18 Musicians is all about overlapping patterns, and any one competently performed (which is a tall order on its own) version will sound different from any other. In this case, Grand Valley State University's New Music Ensemble does a very nice performance, and its own unique "fingerprint" is apparent without the ensemble taking liberties with the score. Bottom line: if you enjoy the piece, as I do, it's nice to hear a slightly different take on what you might be familiar with, and this record delivers.
Reviewed in the United States 🇺🇸 on December 3, 2017
Definitely different in a very good way! Of course, that describes all of Steve Reich's music, IMHO...
Reviewed in the United States 🇺🇸 on February 11, 2015
Great rendition of a Reich masterpiece by an amazing ensemble.
Reviewed in the United States 🇺🇸 on July 29, 2015
A gorgeous and lucid piece of New Music.
Top reviews from other countries
S. Jack
5.0 out of 5 stars
Five Stars
Reviewed in Canada 🇨🇦 on August 18, 2016
brilliant recording - need more Steve Reich in Hi Res recordings (SACDs)
Riyad Salhi
4.0 out of 5 stars
Steve Reich und sein gelungenster Beitrag zur Neuen Musik
Reviewed in Germany 🇩🇪 on June 29, 2007
Der Minimalismus konnte nur in den U.S.A., im Land der groben Vereinfachungen, entstehen - als Gegenreaktion auf als zu komplex empfundene Formen, auf Darmstadt, auf Carter. Die Zuschauer sollten in den Konzertsaal gehen und in Gedanken mitpfeifen können. Das ist zwar jetzt auch eine grobe Vereinfachung, denn ob Riley so gedacht hat, darf man bezweifeln. Glass hingegen hat sich mehrfach abfällig zur Avantgarde geäußert. Minimalismus als Distinktionsverhalten - na gut, aber ich will eigentlich nicht dabei sein. Solche eine Musik verbraucht sich schnell. Und trotzdem kann man eine prototypische Ausnahme gelten lassen, denn zumindest ein Werk aus diesem Feld sollte man als Freund Neuer Musik zu Hause haben. Es bietet sich hier entweder "In C" von Riley an oder Reichs "Music for 18 Musicians". Nebenbei ist es sein bislang bestes Werk, denn "Drumming" macht auf Dauer müde, seine orchestralen Entwürfe mit oder ohne Chor nerven und beweisen immer wieder aufs Neue, dass es dem Minimalismus an Substanz fehlt. Aber dieses Ensemblestück hier, das so heiter ist, ein geklöppelter, geschwungener Puls, der von einem ins andere übergeht und bei aller Einfachheit der Einzelideen stromlinienförmig und elegant ist - das ist die Quintessenz eines Minimalismus, den man sich hin und wieder anhören kann, ohne den Kopf zu schütteln, weil bestimmte Leute mit so was Erfolg haben können. Man kann in dieses Stück hinein gleiten, und man gleitet auch bequem wieder hinaus. Wie sich das in einem Konzert anfühlt, ob das eventuell langweilig gerät, weiß ich nicht. Man sollte dieser Musik auch nicht hochkonzentriert zuhören, sondern sie als akustisches Möbelstück betrachten. Denkbar ist auch, kurz dazu zu tanzen. Die Wohnung könnte in Schwingung geraten. Ansonsten kann ich von Reich noch "Tehillim" empfehlen. Letztlich kann ich den Hype um diesen Mann aber nicht verstehen. Die Entdeckung der Phasenverschiebung ist auch nicht gerade hinreißend interessant, auch wenn Leute wie Siegfried Mauser diese ganz aufgeregt am Flügel erklären. EM-Schlagzeuger Rainer Römer sagte mal im Beisein des Komponisten, was ihm an seiner Musik gefalle: "Essence!" War wohl ein halber Witz. Man versteht das Stück jedenfalls sofort, jede einzelne Note. Und es ist nicht romantisch.
Juan Diego Peral
2.0 out of 5 stars
Composición Magistral e interpretación a la altura.
Reviewed in Spain 🇪🇸 on January 11, 2016
He comprado ésta versión en concreto porque de todas la versiones que hay a la venta de Music for 18 Musicans, es mi preferida. No significa que sea la mejor. Las dos estrellas viene dada por la presentación. A priori es formato digipack y luce bien... hasta que miras la portada y contraportada. Un desastre. En imprenta no quisieron ver que estaban imprimiendo portada y contraportada a pésima resolución. Menos las letras todo esta pixelado y feo. Hasta la portada que la discográfica tiene en su web tiene más calidad de imagen. ¿Y qué importa si se ve feo el envoltorio, lo importante es el contenido, no? No. Existe un trabajo previo a la publicación de un CD que forma parte de la experiencia de tenerlo. Ver la portada, leer los títulos, etc, forma parte de eschuchar y coleccionar música. Cuando la falta de profesionalidad aflora de una manera tan patente, solo cabe mostrar rechazo ante ediciones mal acabadas. Casi que estoy seguro de que existe una versión con la portada y contraportada a buena resolución, pero no es el caso que ocupa con importCDs y desconozco como diferenciar una edición de la otra. Es la primera vez en mi vida que me sucede algo así, quizá por eso me hace tanto daño a la vista. Voy a disfrutar de su contenido y con el tiempo se me pasará el desagrado y disgusto, pero quería dar constancia de lo poco profesional de la edición.
Actualizo: La versión publicada con el código de barras terminado en 782 5 es la que no tiene el problema de impresión, no es digipack y la calidad de audio es superior. La versión mal impresa y audio normal (44Khz a 16 bit), es la que tiene la terminación en el código de barras 652 9 y fue reeditada en el 2013.
Actualizo: La versión publicada con el código de barras terminado en 782 5 es la que no tiene el problema de impresión, no es digipack y la calidad de audio es superior. La versión mal impresa y audio normal (44Khz a 16 bit), es la que tiene la terminación en el código de barras 652 9 y fue reeditada en el 2013.
Polymath
5.0 out of 5 stars
Sounds as fresh as today.
Reviewed in the United Kingdom 🇬🇧 on August 26, 2011
Heard this for the first time after approximately 10 years at the 2011 BBC Proms with Steve Reich at the helm. Then realised I had lost my cassette tape version years back and so sought out a CD replacement on Amazon. This 1999 recording is the business! Both recording quality and performance are fresh and vibrant. The cover design could have been done by a three year old, but let's not be picky - the performance by Ensemble Modern is perky and inspirational as is SR's sleeve note. Good one!
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Dr. M. Rhodes
5.0 out of 5 stars
Perhaps the most important piece of late 20th century music
Reviewed in the United Kingdom 🇬🇧 on April 21, 2014
This is a highly accomplished work by a composer who explored new areas and brought them to maturity. From start to finish, its mesmerising oscillating rhythms hold your attention and offer new insights into the world around you: from the changing seasons, to the interactions of the stars and planets, and the changing nature of human existence. For a work to offer an insight into the nature of life and existence is an astonishing compositional achievement.
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