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You Are
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You Are (Variations)
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MP3 Music, September 21, 2005
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Editorial Reviews
Product description
1 x CD Album
Europe 2005
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)
- Customer Reviews:
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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.
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
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.
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!!
Top reviews from other countries
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).
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.
However, the disc lasts under forty minutes, which is disappointing and accounts for the three-star rather than five-star review
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