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You Are

REICH,STEVE (Artist) Format: Audio CD

3.9 21 ratings

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You Are (Variations)

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Editorial Reviews

Product description

1 x CD Album
Europe 2005

You Are (Variations)
5 - Cello Counterpoint (11:31)

Amazon.com

This new CD of Steve Reich's music pairs two unusually scored pieces. "You Are (Variations)" is set for three sopranos, an alto and two tenors, with flutes, oboe, English horn, two marimbas, clarinets, four pianos, vibraphone and strings. The texts, in Hebrew and English, are philosophical meditations: "You are whoever your thoughts are," "Say little and do much," etc. The resulting work is fascinating, the textures unique and fresh, the experience haunting and captivating, with the voices used as another significant instrumental part. Equally fine is the second work, "Cello Counterpoint," scored for eight cellos (seven pre-recorded and one played "live" by soloist Maya Baiser), which is noteworthy for its complex rhythms, use of counterpoint, and handsome lyrical solo cello line floating above it all. Reich fans will love this; the uninitiated will want to give it a try. --Robert Levine

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 4.92 x 5.71 x 0.55 inches; 4.09 Ounces
Manufacturer ‏ : ‎ Nonesuch
SPARS Code ‏ : ‎ DDD
Date First Available ‏ : ‎ September 2, 2000
Label ‏ : ‎ Nonesuch
ASIN ‏ : ‎ B000A3OX3M
Number of discs ‏ : ‎ 1

Best Sellers Rank: #98,559 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #2,541 in Chamber Music (CDs & Vinyl)
- #2,696 in Opera & Vocal (CDs & Vinyl)

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3.9 21 ratings

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3.9 out of 5

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B. W.

good, but not superb

Reviewed in the United States 🇺🇸 on December 3, 2005

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The other reviews have said pretty much all I have to say about this album. Reich is a fantastic composer, and has such wonderful ingenuity and technique that he can't help but write good music (or so it seems). That being said, "You Are" is not one of his most creative works. I also agree that it needs to be slimmed down in the number of performers so that it doesn't sound so cloudy. "Cello Counterpoint," however, is very good. My favorite of the counterpoint series is "Electric-", but "cello-" is a very high quality composition, and I enjoyed it a great deal.

Basically, this is very very good music, it is just not the best or most interesting work by this composer. So I give it four stars; anyone who hasn't heard Reich before, this is good music, Reich fans, this is nothing to rush to buy.

7 people found this helpful

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D. Robert Bundy

Sublimely beautiful, joyful, challenging stuff

Reviewed in the United States 🇺🇸 on February 3, 2006

I normally don't submit reviews in this forum, and I generally think that chatter among critics is beside the point, and of little use to anyone looking to reader comments for insights into the relative merits of a piece of music. What is that great quote from Elvis Costello? "Talking about music is like dancing about architecture." BUT...

I've listened to this recording several times, and I am so grateful for this music. I've been following Reich for a couple of decades now, and like anyone, I have my favorites, but it is sometimes frustrating to read people sniffing at a new work by deciding that it is not the percieved equal of some earlier work by that composer. I guess because I think of a great composer's latest work as a chapter in a book, and it makes little sense to me to stop the conversation between composer and listener in order to pit one chapter against another. Some of these posted criticisms have been thoughtful and heartfelt, but I would want them to consider that the listener changes over time as well, and sometimes listener and composer evolve and grow in different directions, and it is not necessarily the composer's "fault" if their aesthetics diverge down the line.

I love this record. I think Reich is distilling some of what has made him so interesting to me over the years. There are only a handful of modern composers that create music that is both lovely AND challenging, and none has perfected this balance better than Reich. Others may differ, but for me, the conversation is just getting more interesting as the years go by.

Robert Bundy

58 people found this helpful

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L. Donald

Mixed feelings

Reviewed in the United States 🇺🇸 on November 19, 2005

'You Are (Variations)' marks a return to purely musical endeavour for Steve Reich after highly innovative works in the field of video opera in collaboration with the video artist Beryl Corot.

Like a fellow reviewer, I too was fortunate enough to see this piece at its European premiere back in January, performed by the Ensemble Modern and Synergy Vocals in Frankfurt, Germany. On the night I was blown away by the piece, but on reflection this probably had more to do with the novelty of hearing it for the first time in a live setting (and possibly the arrangement- there were only 6 vocalists i.e. one to a part, in that performance) than with the quality of the work itself.

Now I am a massive fan of Reich's music, and there is a lot to admire in this, the title work. For those familiar with his music, there is a wonderful sense of concision to the piece, firstly in that it draws stylistically from many of his former works; that strange, floating cloud of pulsing staccato voices which permeate his earlier counterpoint pieces being just one concrete example. Rather than feeling like Reich-by-numbers, however (as it could well do), approached with an open mind this is a very welcome characteristic- there is something very comforting in hearing or seeing familiar elements in any artists' work, particularly of one you like; it is the hallmark of a master who has developed a voice unique enough to become comfortable with expressing him/herself in that voice alone. That is the first thing to note, however; there is nothing *radically* different in You Are (Variations) in terms of overall sound. It is a continuation of an already established aesthetic. The use of variations technique is, however, something Reich has only put his mind to once before, and that in 1978 (for Winds, Strings and Keyboards)

The sense of concision comes secondly from the brevity of the individual sections/movements, and the simple harmonic language used by Reich throughout, especially in the 2nd and 4th movements ('Shiviti HaShem L'Negdi' and 'Ehmor m'aht, va'ah say harbay'). The thing which ties the variations together harmonically is a D major altered dominant chord, upon which these movements are based. There is some chromaticism, to be sure; from the 5th variation of the 1st section ('You are wherever your thoughts are') until its conclusion, the four pianos are piled on top of eachother playing conflicting harmonies and, in Reich's own words, 'the plot thickens enormously'. Equally in the 3rd movement ('Explanations come to an end somewhere'), where the words of Wittgenstein are given a heavily atmospheric, almost oppressive, setting, with a tritone being resolved at the end of each repetition of the phrase.

The other things about the work which really appeal to me are: 1. the swinging rhythms of the 2nd and 4th movements; there is a real sense of playfulness and fun to the writing here, to match the joyousness of the Hebrew texts- 2 movements which have to rank among Reich's best work, typically for him emotionally very moving and uplifting.

2. the selection of texts; the idea to set such disparate, philosophical texts, although not unusual for Reich himself, strikes me as very contemporary and their meanings add MUCH to the listening experience. There is a very powerful spirituality to this music, which is however thoroughly modern because of the time written and because of the texts set.

3. the fact that although the texts are incredibly short and thus in their setting demand repetition, this repetition is not irritating given the application of variations technique to them.

The reason I have given 'You Are' only three stars, however, is because, as another reviewer commented, the music is extremely flat in places, especially in the first movement, which aside from the first few variations proceeds on a very horizontal line. The emphasis here is completely on the voices; the orchestral ensemble provides merely a sonic backbone for the choir in most places, and doesn't do ANYTHING lyrical or expansive throughout, with the exception of the winds' imitation of the lead vocal line. The selection of four pianos and so many mallet percussion instruments seems over the top; they just chug away relentlessly, especially in the otherwise excellent second movement, where they all (pianos and all vibes and marimbas) seem to be playing that same altered dominant chord for the entirety. It adds up to a fairly stodgy, overdone sound. The same criticism can be levelled at the voices. What they do and how they individually do it is beautiful,and they are indeed (by Reich's standards)lyrical and expansive, but there are simply far too many of them, providing a thick, almost blunt sound, especially when compared to the amazing 'Tehillim'. However, the canons themselves can be quite incomprehensible on first listening and require closer attention to make sense. My criticism has therefore nothing to do with the work being choral, since I love Reich's writing for voices, with 'Tehillim' my second favourite after 'Different Trains'. There just isn't that feeling of hypnotism and suspended time you get with that piece. My final reason for three stars is that the structure is far too reminiscent of 'Tehillim' for my liking, in a way which strikes me as even lazy;lo and behold there is a slow, disconnected third section after two uninterrupted movements of the same tempo with a very similar musical setting, and a recapitulation at the end.

In short, I'd wait for the chamber version with smaller choir and ensemble, even though 'You Are' was commissioned by the LAMC.

9 people found this helpful

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Jonny B

Vibrant...

Reviewed in the United States 🇺🇸 on October 2, 2005

I went to see the UK premiere of this piece, and honestly, it almost sounds better recorded on this CD.

33 people found this helpful

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meteordude

more great music from Steve Reich!

Reviewed in the United States 🇺🇸 on October 2, 2005

Well I am one of the minimalist nuts who runs to the store as soon as i hear about a new release by Steve Reich. He takes his time with new compositions, and luckily we are usually rewarded very generously by each of his efforts. The works on this album are no exception, and I would probably rank them near the top in terms of quality, originality and overall listenability.

These two pieces are somewhat more complex than many of his previous works. There is some similarity with the recent Triple Quartet, especially in Cello Counterpoint. The trademark Reich style is clearly there, but with an extra layer of rythmic and harmonic complexity. The end result (for me) is two outstanding pieces that have a freshness which I didn't expect. It is exciting to see that Steve's writing is continuing to evolve (and in a good way). more more more, please!!

44 people found this helpful

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Jon M. Willis

Glorious stuff

Reviewed in the United States 🇺🇸 on October 2, 2005

I have loved Steve Reich's music since Six Pianos and Trains, and You Are (Variations) are superb examples of his writing, this time for choir and ensemble. Fans of 20th century minimalism should buy this immediately, although it is georgeously complex and textured for a minimalist piece. The Los Angeles Master Chorale are in fine voice throughout. The lovely choral pieces are paired with an equally exciting Cello Counterpoint,with the most impressive tone and technique from Maya Beiser pushing the normally lyrical instrument into urgent counterpoint.

44 people found this helpful

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Riyad Salhi

Das bessere "Tehillim"

Reviewed in Germany 🇩🇪 on October 30, 2008

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Lange Zeit habe ich Steve Reich unterschätzt, aus Unwissenheit, sicherlich auch aus Ignoranz. Der Mann mit den einfachen Klängen. Der, den man sofort kapiert. Alles falsch! Mit "You are (Variations)" ist mir sein Genius erstmals glasklar bewusst geworden. Das sind knapp 27 Minuten reinster Reich, mit vier viel beschäftigten Pianisten, Marimbaphonen, Vibraphonen, einigen Holzbläser und wenigen Streichern, und dazwischen (nicht davor!) sechs Stimmen, die solche Sachen singen wie "You are wherever your thoughts are" oder "Explanations come to an end somewhere". Ähnlichkeiten mit "Tehillim" sind offensichtlich, aber das jüngere Werk ist noch luftiger, flockiger, klöppeliger, strömender, perfekter sowieso, und es reift, es reift! Man glaubt es sofort zu verstehen, gibt im Grunde auch nichts, was einem das Verstehen verbauen würde, alles wie gehabt, und doch: Nach dem zwanzigsten Durchlauf ein Begeisterungsschub, den ich selbst kaum begreife. Ich fließe mit, ich verstehe intuitiv vollkommen, warum diese Musik so ist wie sie ist. Jeder Schlag stimmt. Man sollte in Konzertsälen die Stühle wegräumen, das Stück live spielen und das Publikum tanzen lassen.

Der erste Teil ist gleichzeitig schon die erste Hälfte von "You are (Variations)". Rhythmische Ideen überlagern sich, wechseln, werden gestapelt und gestreckt. Ein mitreissender Drive wohnt da drin, trägt einen mit oder nervt, je nachdem, ob man connected ist oder nicht. Das Tempo, die Dynamik wechseln im zweiten Teil nur unwesentlich, etwas ruhiger wird es lediglich bei "Explanations...". Leichtfüßige Energie, perkussive Muster, zickzackige Motive bestimmen bis zum Ende das Stück, mit dem ich endgültig den Minimalismus busserln will. Auch "Cello Counterpoint" für achtfaches Cello oder Cello-Oktett gefällt, wenngleich ich hier noch länger gebraucht habe, bis es nicht mehr anstrengend war.

Steve Reich steht an einer grauen Mauer und sieht mit seiner Baseballkappe wie ein Junge aus und unten sitzt die Hose so wie bei einem alten Mann. Dass er so lange an "You are (Variations)" gesessen hat (18 Monate!), wie er im Booklet behauptet, kann ich nicht ganz glauben (in der halben Zeit hätte Rihm zwei Opern, zwei Konzerte und ein Streichquartett geschrieben).

10 people found this helpful

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Vic n Bob

More high-class vocal music from Reich

Reviewed in the United Kingdom 🇬🇧 on November 2, 2010

Verified Purchase

I've referred to this as 'vocal music' partly to distinguish it from Reich's orchestral pieces and the more recent ensemble works but also to, in effect, group it with Tehillim, The Desert Music and other pieces where Reich has integrated vocals with his instrumentation.
I have to say that ever since I first heard the You Are Variations it rapidly became one of my favourites and I don't tire of listening to it. All the familiar characteristics of Reich are there, the insistent pulse, slowly changing repetitive phrasing, etc. but the melodic writing and the prominence of the singers in the recording mix make this quite intoxicating. I cannot recommend it more strongly.
The Cello Counterpoint that accompanies You Are on this recording is equally interesting, not so immediate maybe, but still very rewarding and a continuation of the solo instrument 'Counterpoint' compositions he has created over the years probably the best of which is the excellent Electric Counterpoint for guitar originally recorded with Pat Metheny as soloist (with Different Trains performed by Kronos).
I understand the comments by other reviewers about the overall playing length of this recording as a whole, but when the music is so sumptuous it's hard to complain.

4 people found this helpful

Dobester

Excellent Reich but very short

Reviewed in the United Kingdom 🇬🇧 on May 2, 2006

Verified Purchase

This is a superb recording of Steve Reich's music at its Reichian best. The multi-track recording of Maya Beiser's cello variations is a throbbing, rhythmic polyphonic orgy of pleasure.

However, the disc lasts under forty minutes, which is disappointing and accounts for the three-star rather than five-star review

6 people found this helpful

C. Challenger

Count me in

Reviewed in the United Kingdom 🇬🇧 on October 30, 2007

Verified Purchase

I entirely agree with the other reviewer, including my disappointment with the running time. Nonesuch often seem to record very interesting music, but aren't generous with how much is on the CD.

4 people found this helpful

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