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Steve Reich

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Stephen Michael Reich
Steve Reich at theHolland Festival,c. June 1976
Born(1936-10-03)October 3, 1936(age 87)
New York City
EraContemporary
Notable work
Websitestevereich

Stephen Michael Reich(/raɪʃ/RYSHE;[1][2]better-known asSteve Reich,born October 3, 1936) is an American composer who is known for his contribution to the development ofminimal musicin the mid to late 1960s.[3][4][5]Reich's work is marked by its use ofrepetitive figures,slowharmonic rhythm,andcanons.Reich describes this concept in his essay, "Music as a Gradual Process", by stating, "I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music." For example, his early works experiment with phase shifting, in which one or more repeated phrases plays slower or faster than the others, causing it to go "out of phase." This creates new musical patterns in a perceptible flow.[6]

His innovations include usingtape loopsto createphasingpatterns, as on the early compositionsIt's Gonna Rain(1965) andCome Out(1966), and the use of simple, audibleprocesses,as onPendulum Music(1968) andFour Organs(1970). The 1978 recordingMusic for 18 Musicianswould help entrench minimalism as a movement.[7]Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notablyDifferent Trains(1988).

Reich's style of composition has influenced many contemporary composers and groups, especially in the United States. Writing inThe Guardian,music critic Andrew Clements suggested that Reich is one of "a handful of living composers who can legitimately claim to have altered the direction of musical history".[8]

Early life[edit]

Reich was born in New York City to Jewish parents, the Broadway lyricistJune Sillmanand Leonard Reich. When he was one year old, his parents divorced, and Reich divided his time between New York and California. He is the half-brother of writerJonathan Carroll.[9]He was given piano lessons as a child and describes growing up with the "middle-class favorites", having no exposure to music written before 1750 or after 1900. At the age of 14 he began to study music in earnest, after hearing music from theBaroque periodand earlier, as well as music of the 20th century.[10]Reich studied drums with Roland Kohloff in order to playjazz.While attendingCornell University,he minored in music and graduated in 1957 with a B.A. in Philosophy.[11]Reich's B.A. thesis was onLudwig Wittgenstein;[12]later he would set texts by that philosopher to music inProverb(1995) andYou Are (variations)(2006).

For a year following graduation, Reich studied composition privately withHall Overtonbefore he enrolled atJuilliard[13]to work withWilliam BergsmaandVincent Persichetti(1958–1961). Subsequently, he attendedMills CollegeinOakland, California,where he studied withLuciano BerioandDarius Milhaud(1961–1963) and earned a master's degree in composition. At Mills, Reich composedMelodicaformelodicaandtape,which appeared in 1986 on the three-LP releaseMusic from Mills.[14]

Reich worked with theSan Francisco Tape Music Centeralong withPauline Oliveros,Ramon Sender,Morton Subotnick,Phil LeshandTerry Riley.[15]He was involved with the premiere of Riley'sIn Cand suggested the use of the eighth note pulse, which is now standard in performance of the piece.

Career[edit]

1960s[edit]

Reich's early forays into composition involved experimentation withtwelve-tone composition,but he found the rhythmic aspects of the number twelve more interesting than the pitch aspects.[16]Reich also composed film soundtracks forPlastic Haircut(1963),Oh Dem Watermelons(1965), andThick Pucker(1965), three films byRobert Nelson.The soundtrack ofPlastic Haircut,composed in 1963, was a short tape collage, possibly Reich's first. TheWatermelonssoundtrack used two 19th-centuryminstrel tunesas its basis, and used repeated phrasing together in a large five-partcanon.The music forThick Puckerarose from street recordings Reich made walking around San Francisco with Nelson, who filmed in black and white 16mm. This film no longer survives. A fourth film from 1965, about 25 minutes long and tentatively entitled "Thick Pucker II", was assembled by Nelson from outtakes of that shoot and more of the raw audio Reich had recorded. Nelson was not happy with the resulting film and never showed it.

Reich was influenced by fellow minimalistTerry Riley,whose workIn Ccombines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work,It's Gonna Rain.Composed in 1965, the piece used a fragment of asermonabout the end of the world given by a BlackPentecostalstreet-preacher known as Brother Walter. Reich built on his early tape work, transferring the last three words of the fragment, "it's gonna rain!", to multiple tape loops that gradually move out of phase with one another.[17]

The 13-minuteCome Out(1966) uses similarly manipulated recordings of a single spoken line given by Daniel Hamm, one of the falsely accusedHarlem Six,who was severely injured by police.[18]The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruise's blood come out to show them". Reich rerecorded the fragment "come out to show them" on two channels, which are initially played in unison. They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns.

Melodica(1966) takes the phase looping idea of his previous works and applies it to instrumental music. Steve Reich took a simple melody, which he played on amelodica,then recorded it. He then sets the melody to two separate channels, and slowly moves them out of phase, creating an intricate interlocking melody. This piece is very similar toCome Outin rhythmic structure, and is an example of how one rhythmic process can be realized in different sounds to create two different pieces of music. Reich was inspired to compose this piece from a dream he had on May 22, 1966, and put the piece together in one day.Melodicawas the last piece Reich composed solely for tape, and he considers it his transition from tape music to instrumental music.[19]

Reich's first attempt at translating this phasing technique from recorded tape to live performance was the 1967Piano Phase,for two pianos. InPiano Phasethe performers repeat a rapid twelve-notemelodicfigure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure.Violin Phase,also written in 1967, is built on these same lines.Piano PhaseandViolin Phaseboth premiered in a series of concerts given in New York art galleries.

A similar, lesser known example of this so-calledprocess musicisPendulum Music(1968), which consists of the sound of several microphones swinging over the loudspeakers to which they are attached, producingfeedbackas they do so. "Pendulum Music" has never been recorded by Reich himself, but was introduced to rock audiences bySonic Youthin the late 1990s.

Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composedClapping Music(1972), in which the players do not phase in and out with each other, but instead one performer keeps one line of a 12-eighth-note-long (12-quaver-long) phrase and the other performer shifts by oneeighth notebeat every 12 bars, until both performers are back in unison 144 bars later.[20]

The 1967 prototype pieceSlow Motion Soundwas not performed althoughChris Hughesperformed it 27 years later asSlow Motion Blackbirdon his Reich-influenced 1994 albumShift.It introduced the idea of slowing down a recorded sound until many times its original length without changing pitch or timbre, which Reich applied toFour Organs(1970), which deals specifically with augmentation. The piece hasmaracasplaying a fasteighth notepulse,while the four organs stress certain eighth notes using an 11th chord. This work therefore dealt withrepetitionand subtle rhythmic change. In contrast to Reich's typical cyclical structure,Four Organsis unique among his work in using a linear structure—the superficially similarPhase Patterns,also for four organs but without maracas, is (as the name suggests) a cyclical phase piece similar to others composed during the period.Four Organswas performed as part of aBoston Symphony Orchestraprogram, and was Reich's first composition to be performed in a large traditional setting.

1970s[edit]

In 1970, Reich embarked on a five-week trip to study music in Ghana, during which he learned from the master drummer Gideon Alorwoyie. Reich also studied BalinesegamelaninSeattlein 1973 and 1974.[21][when?]From his African experience, as well asA. M. Jones'sStudies in African Musicabout themusic of the Ewepeople, Reich drew inspiration for his 90-minute pieceDrumming,which he composed shortly after his return. Composed for a nine-piece percussion ensemble with female voices andpiccolo,Drummingmarked the beginning of a new stage in his career, for around this time he formed his ensemble,Steve Reich and Musicians,and increasingly concentrated on composition and performance with them. Steve Reich and Musicians was the sole ensemble to interpret his works for many years,[22]and they remain a "living laborotary" for his music.[23]The ensemble still remains active with many of its original members.[24]

AfterDrumming,Reich moved on from the "phase shifting" technique that he had pioneered, and began writing more elaborate pieces. He investigated other musical processes such asaugmentation(the temporal lengthening of phrases and melodic fragments). It was during this period that he wrote works such asMusic for Mallet Instruments, Voices and Organ(1973) andSix Pianos(1973).

In 1974, Reich began writingMusic for 18 Musicians.This piece involved many new ideas, although it also recalls earlier pieces. It is based on acycleofeleven chordsintroduced at the beginning (called "Pulses" ), followed by a small section of music based on eachchord( "Sections I-XI" ), and finally a return to the original cycle ( "Pulses" ). This was Reich's first attempt at writing for largerensembles.The increased number of performers resulted in more scope for psychoacoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". Reich remarked that this one work contained more harmonic movement in the first five minutes than any other work he had written. Steve Reich and Musicians made thepremier recordingof this work onECM Records.

Reich explored these ideas further in his frequently recorded piecesMusic for a Large Ensemble(1978) andOctet(1979). In these two works, Reich experimented with "the human breath as the measure of musical duration... the chords played by the trumpets are written to take one comfortable breath to perform".[25]Human voices are part of the musical palette inMusic for a Large Ensemblebut the wordless vocal parts simply form part of the texture (as they do inDrumming). WithOctetand his first orchestral pieceVariations for Winds, Strings and Keyboards(also 1979), Reich's music showed the influence of Biblicalcantillation,which he had studied in Israel since the summer of 1977. After this, the human voice singing a text would play an increasingly important role in Reich's music.

The technique... consists of taking pre-existing melodic patterns and stringing them together to form a longer melody in the service of a holy text. If you take away the text, you're left with the idea of putting together small motives to make longer melodies – a technique I had not encountered before.[26]

In 1974 Reich published the bookWritings About Music,containing essays on his philosophy, aesthetics, and musical projects written between 1963 and 1974. An updated and much more extensive collection,Writings On Music (1965–2000),was published in 2002.

1980s[edit]

Reich circa 1982-1984

Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage.Tehillim(1981),Hebrewforpsalms,is the first of Reich's works to draw explicitly on his Jewish background. The work is in four parts, and is scored for an ensemble of four women's voices (one highsoprano,two lyric sopranos and onealto),piccolo,flute,oboe,English horn,twoclarinets,six percussion (playing small tunedtambourineswithout jingles, clapping,maracas,marimba,vibraphoneandcrotales), twoelectronic organs,two violins,viola,cello and double bass, with amplified voices, strings, and winds. A setting of texts from Psalms 19:2–5 (19:1–4 in Christian translations), 34:13–15 (34:12–14), 18:26–27 (18:25–26), and 150:4–6,Tehillimis a departure from Reich's other work in its formal structure; the setting of texts several lines long rather than the fragments used in previous works makes melody a substantive element. Use of formalcounterpointand functionalharmonyalso contrasts with the loosely structured minimalist works written previously. The musicologist Ronit Seter described it as "one of a very few non-Israeli works where the setting of the Hebrew text feels natural", reflecting Reich's extensive research into modern Hebrew-Israeli speech, ancient Psalmic prosody and Jewish cantillation traditions.[27]

"Electric Counterpoint III Fast" (1989)
25 seconds of "Electric Counterpoint III Fast" performed by Pat Metheny. FromDifferent Trains/Electric Counterpointalbum.
Problems playing this file? Seemedia help.

Different Trains(1988), forstring quartetand tape, uses recorded speech, as in his earlier works, but this time as a melodic rather than a rhythmic element. InDifferent Trains,Reich compares and contrasts his childhood memories of his train journeys between New York and California in 1939–1941 with the very different trains being used to transport contemporaneous European children to their deaths underNazirule. TheKronos Quartetrecording ofDifferent Trainswas awarded theGrammy Award for Best Classical Contemporary Compositionin 1990. The composition was described byRichard Taruskinas "the only adequate musical response—one of the few adequate artistic responses in any medium—tothe Holocaust",and he credited the piece with earning Reich a place among the great composers of the 20th century.[28]

1990s[edit]

In 1993, Reich collaborated with his wife, the video artistBeryl Korot,on an opera,The Cave,which explores the roots of Judaism, Christianity and Islam through the words of Israelis,Palestinians,and Americans, echoed musically by the ensemble. The work, for percussion, voices, and strings, is a musical documentary, named for theCave of MachpelahinHebron,where a mosque now stands andAbrahamis said to have been buried. According to musicologist Ronit Seter, the work "share[s] the confrontational, yet peaceful message" conveyed by contemporaneous Israeli composers.[27]

Reich and Korot collaborated on the operaThree Tales,which concerns theHindenburgdisaster,the testing ofnuclear weaponsonBikini Atoll,and other more modern concerns, specificallyDolly the sheep,cloning,and thetechnological singularity.

Reich used sampling techniques for pieces likeThree TalesandCity Lifefrom 1994. Reich returned to composing purely instrumental works for the concert hall, starting withTriple Quartetin 1998 written for the Kronos Quartet that can either be performed by string quartet and tape, three string quartets or 36-piece string orchestra. According to Reich, the piece is influenced byBartók's andAlfred Schnittke's string quartets, andMichael Gordon'sYo Shakespeare.[29]

2000s[edit]

The instrumental series for the concert hall continued withDance Patterns(2002),Cello Counterpoint(2003), and multiple works centered around variations:You Are (Variations)(2004),Variations for Vibes, Pianos, and Strings(2005), and theDaniel Variations(2006).You Arelooks back to the vocal writing ofTehillimandThe Desert Musicwhile theDaniel Variations,which Reich called "much darker, not at all what I'm known for", are partly inspired by the death ofDaniel Pearl.[30]

In 2002 Reich was invited byWalter Finkto the annualKomponistenporträtof theRheingau Musik Festival,as the 12th composer featured.

In December 2010Nonesuch RecordsandIndaba Musicheld a community remix contest in which over 250 submissions were received, and Steve Reich and Christian Carey judged the finals. Reich spoke in a related BBC interview that once he composed a piece he would not alter it again himself; "When it's done, it's done," he said. On the other hand, he acknowledged that remixes have an old tradition e.g. famous religious music pieces where melodies were further developed into new songs.[31]

2010s[edit]

Reich premiered a piece,WTC 9/11,written for String Quartet and Tape (a similar instrumentation to that ofDifferent Trains) in March 2011. This was a response to theSeptember 11 attacksand used recordings from emergency services and from family members who were in New York during the attacks.[32]It was premiered by theKronos Quartet,atDuke University,North Carolina, US.[33]

On March 5, 2013, the London Sinfonietta, conducted by Brad Lubman, at theRoyal Festival Hallin London gave the world premiere ofRadio Rewrite,Reich's work inspired by the bandRadiohead.The programme also includedDouble Sextet,Clapping Music,featuring Reich himself alongside percussionistColin Currie,Electric Counterpoint,with electric guitar byMats Bergströmas well as two of Reich's ensemble pieces.[34]

Music for Ensemble and Orchestrawas premiered on November 4, 2018 by theLos Angeles PhilharmonicunderSusanna MälkkiatWalt Disney Concert Hall,marking Reich's return to writing for orchestra after an interval of more than thirty years.[35][36]

Reich has lived with his wife Beryl Korot in a home inupstate New Yorksince 2006.[37][38]

Awards[edit]

In 2005, Reich was awarded the Edward MacDowell Medal.[39][40]

Reich was awarded with thePraemium ImperialeAward in Music in October 2006.[41]

On January 25, 2007, Reich was named 2007 recipient of thePolar Music Prizewith jazz saxophonistSonny Rollins.[42]

On April 20, 2009, Reich was awarded the 2009Pulitzer Prize for Music,recognizingDouble Sextet,first performed in Richmond March 26, 2008. The citation called it "a major work that displays an ability to channel an initial burst of energy into a large-scale musical event, built with masterful control and consistently intriguing to the ear".[43][44]

In May 2011 Steve Reich received an honorary doctorate from theNew England Conservatory of Music.[45]

In 2012, Steve Reich received the Gold Medal in Music by the American Academy of Arts and Letters.[46]

In 2013 Reich received the US$400,000BBVA Foundation Frontiers of Knowledge Awardin contemporary music for bringing a new conception of music, based on the use of realist elements from the realm of daily life and others drawn from the traditional music of Africa and Asia.[47]

In September 2014, Reich was awarded the "Leone d'Oro" (Golden Lion for Lifetime Achievement in Music) from theVenice Biennale.[48]

In March 2016, Reich was awarded an Honorary Doctorate by theRoyal College of Musicin London.[49]

Influence[edit]

The American composer and criticKyle Gannhas said that Reich "may... be considered, by general acclamation, America's greatest living composer".[50]Reich's style of composition has influenced many other composers and musical groups, includingJohn Adams,theprogressive rockbandKing Crimson,the new-age guitaristMichael Hedges,the art-pop and electronic musicianBrian Eno,the experimental art/music groupthe Residents,the electronic groupUnderworld,the composers associated with theBang on a Canfestival (includingDavid Lang,Michael Gordon,andJulia Wolfe), and numerousindie rockmusicians including songwritersSufjan Stevens[51][52]and Matthew Healy ofthe 1975,[53]and instrumental ensemblesTortoise,[54][55][56]The Mercury Program,[57]andGodspeed You! Black Emperor(who titled an unreleased song "Steve Reich" ).[58]

John Adams commented, "He didn't reinvent the wheel so much as he showed us a new way to ride."[59]He has also influenced visual artists such asBruce Nauman,and many notable choreographers have made dances to his music,Eliot Feld,Jiří Kylián,Douglas LeeandJerome Robbinsamong others; he has expressed particular admiration ofAnne Teresa De Keersmaeker's work set to his pieces.

In featuring a sample of Reich'sElectric Counterpoint(1987) in the 1990 trackLittle Fluffy Cloudsthe Britishambient technoactthe Orbexposed a new generation of listeners to his music.[60]In 1999 the albumReich Remixedfeaturedremixesof a number of Reich's works by various electronic dance-music producers, such asDJ Spooky,Kurtis Mantronik,Ken Ishii,andColdcutamong others.[60][61]

Reich'sCello Counterpoint(2003) was the inspiration for a series of commissions for solo cello with pre-recorded cellos made byAshley Bathgatein 2017 including new works byEmily CooleyandAlex Weiser.[62]

Reich often citesPérotin,J. S. Bach,Debussy,Bartók,andStravinskyas composers whom he admires and who greatly influenced him when he was young.[63]Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalistsElla FitzgeraldandAlfred Deller,whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works.John Coltrane's style, which Reich has described as "playing a lot of notes to very few harmonies", also had an impact; of particular interest was the albumAfrica/Brass,which "was basically a half-an-hour in E".[64]Reich's influence from jazz includes its roots, also, from the West African music he studied in his readings and visit to Ghana. Other important influences areKenny ClarkeandMiles Davis,and visual artist friends such asSol LeWittandRichard Serra.Reich has also stated that he admires the music of the bandRadiohead,which led to his compositionRadio Rewrite.[65]

Works[edit]

Compositions[edit]

  • Pitch Chartsvariable instrumentation (1963)
  • Soundtrack forPlastic Haircuttape (1963)
  • Music for two or more pianos(1964)
  • Livelihood(1964)
  • It's Gonna Raintape (1965)
  • Soundtrack forOh Dem Watermelonstape (1965)
  • Come Outtape (1966)
  • Melodicafor melodica and tape (1966)
  • Reed Phasefor soprano saxophone or any other reed instrument and tape, or three reed instruments (1966)
  • Piano Phasefor two pianos, or two marimbas (1967)
  • Slow Motion Soundconcept piece (1967)
  • Violin Phasefor violin and tape or four violins (1967)
  • My Name Isfor three tape recorders and performers (1967)
  • Pendulum Musicfor 3 or 4 microphones, amplifiers and loudspeakers (1968) (revised 1973)[66]

Selected discography[edit]

Filmography[edit]

  • Phase to Face,a film documentary about Steve Reich by Eric Darmon & Franck Mallet (EuroArts, 2011)DVD

Books[edit]

  • Reich, Steve (1974).Writings About Music.Halifax: Press of theNova Scotia College of Art and Design.ISBN0-8147-7358-3.
  • Reich, Steve (April 1, 2002). Hillier, Paul (ed.).Writings on Music, 1965–2000.Oxford: Oxford University Press.ISBN0-19-511171-0.
  • Reich, Steve (2022).Conversations.New York City: Hanover Square Press.ISBN9781335425720.

See also[edit]

References[edit]

  1. ^"Say How? A Pronunciation Guide to Names of Public Figures".National Library Service. May 2006.RetrievedOctober 15,2009.
  2. ^"Composer Steve Reich on turning 80, writing live music and finding faith".The Globe and Mail.RetrievedJanuary 25,2018.
  3. ^Mertens, W.(1983),American Minimal Music,Kahn & Averill, London, (p. 11).
  4. ^Michael Nyman,writing in the preface of Mertens' book refers to the style as "so called minimal music"[vague](Mertens p. 8).
  5. ^"The term 'minimal music' is generally used to describe a style of music that developed in America in the late 1960s and 1970s; and that was initially connected with the composers La Monte Young, Terry Riley, Steve Reich, and Philip Glass."Sitsky, L.(2002),Music of the Twentieth-century Avant-garde: A Biocritical Sourcebook,Greenwood Press, Westport, Connecticut. (p. 361)
  6. ^Colannino, Justin; Gómez, Francisco;Toussaint, Godfried T.(2009). "Analysis of Emergent Beat-Class Sets in Steve Reich's 'Clapping Music' and the Yoruba Bell Timeline".Perspectives of New Music.47(1): 111–134.ISSN0031-6016.JSTOR25652402.
  7. ^[Steve Reich: Music for 18 Musicians(1978)atAllMusic
  8. ^"Radio 3 Programmes – Composer of the Week, Steve Reich (b. 1936), Episode 1".BBC. October 25, 2010.RetrievedOctober 16,2011.
  9. ^Lightcage (December 25, 2014)."Jonathan Carroll | Publishers Weekly Interview".jonathancarroll.RetrievedAugust 11,2016.
  10. ^"Steve Reich – Composer".Famous Composers.
  11. ^Paul Griffiths,"Reich, Steve [Stephen] (Michael)",The New Grove Dictionary of Music and Musicians,second edition, edited byStanley SadieandJohn Tyrrell(London: Macmillan, 2001).
  12. ^Cott, Jonathan(1996)."Interview with Steve Reich".The Steve Reich Website.Actually, I wrote a thesis criticizingGilbert Rylefor criticizing Wittgenstein.
  13. ^"Steve Reich | American composer".Encyclopædia Britannica.RetrievedFebruary 26,2018.
  14. ^Music from MillsatAllMusic
  15. ^Bernstein, David (2008).The San Francisco Tape Music Center.University of California Press.ISBN978-0-520-24892-2.
  16. ^Malcolm Ballon Steve ReichArchivedSeptember 3, 2018, at theWayback Machine
  17. ^Steve Reich,Writings on Music: 1965-2000(Oxford [etc.]:Oxford University Press,2002), p. 19.
  18. ^James Baldwin(July 11, 1966)."A Report from Occupied Territory".mindfully.org. Archived fromthe originalon June 29, 2013.RetrievedApril 28,2013.
  19. ^Reich, Steve (2002).Writings on Music, 1965–2000.New York: Oxford University Press. pp. 22–23.ISBN0-19-511171-0.
  20. ^Reich 2002,p.[page needed].
  21. ^"Steve Reich Biography".Steve Reich.RetrievedFebruary 26,2018.
  22. ^"Keep on working, it'll get you through anything – interview with Steve Reich".AIM - Adventures in Music.September 30, 2021.RetrievedJune 7,2024.
  23. ^Service, Tom (October 22, 2012)."A guide to Steve Reich's music".The Guardian.ISSN0261-3077.RetrievedJune 7,2024.
  24. ^"Steve Reich · Biography · Artist ⟋ RA".Resident Advisor.RetrievedJune 7,2024.
  25. ^Liner notes forMusic for a Large Ensemble
  26. ^Schwarz, K. Robert.Minimalists,Phaidon Press, 1996, pp. 84, 86.
  27. ^abSeter, Ronit (2014)."Israelism: Nationalism, Orientalism, and the Israeli Five".Musical Quarterly.97(2): 244 – via Oxford Academic.
  28. ^Taruskin, Richard(August 24, 1997)."A Sturdy Musical Bridge to the 21st Century".The New York Times.RetrievedSeptember 27,2008.
  29. ^Kim, Rebecca Y. (2002)."From New York to Vermont: Conversation with Steve Reich".Current Musicology.67–68: 345–366.ProQuest1297276104.
  30. ^"Steve Reich on the most political work of his career".The Guardian.September 6, 2006.RetrievedAugust 23,2021.
  31. ^"Steve Reich Remix Contest – 2x5 Movement 3".Indaba Music. Archived from the original on December 3, 2010.RetrievedOctober 16,2011.{{cite web}}:CS1 maint: unfit URL (link)
  32. ^"Steve Reich - WTC 9/11".Kronos Quartet. Archived fromthe originalon April 4, 2011.RetrievedMarch 8,2011.
  33. ^"Steve Reich – WTC 9/11".boosey. April 2011.RetrievedMay 28,2015.
  34. ^"Radio Rewrite, Double Sextet".bbc.co.uk. 2013.RetrievedMarch 5,2013.
  35. ^"Mälkki Conducts Mahler's 5th".laphil.RetrievedDecember 9,2018.
  36. ^Barone, Joshua (November 17, 2018)."Steve Reich Talks About His First Orchestral Work in 30 Years".The New York Times.RetrievedDecember 9,2018.
  37. ^https:// npr.org/sections/deceptivecadence/2016/10/09/496552301/steve-reich-at-80-the-phases-of-a-lifetime-in-music
  38. ^https:// bbc.co.uk/sounds/play/m001p2d0
  39. ^"MacDowell Medal winners — 1960–2011".The Daily Telegraph.April 13, 2011.Archivedfrom the original on January 12, 2022.RetrievedDecember 6,2019.
  40. ^"Steve Reich, 2005 Edward MacDowell Medal Recipient".MacDowell Colony.
  41. ^Reich, Steve."Biography".stevereich.
  42. ^Hans Gefors, "Steve ReichArchivedJanuary 3, 2014, at theWayback Machine",translated by Neil Betteridge. Stockholm: Polar Music Prize, 2007 (accessed January 26, 2015).
  43. ^"The 2009 Pulitzer Prize Winners: Music".The Pulitzer Prizes.RetrievedOctober 16,2011.With short biography andDouble Sextetdata including Composer's Notes.
  44. ^"2009 Pulitzer Prizes for Letters, Drama and Music,"The New York Times,April 20, 2009.
  45. ^"Commencement 2011 | New England Conservatory".Necmusic.edu. Archived fromthe originalon October 15, 2011.RetrievedOctober 16,2011.
  46. ^"Steve Reich: Biography".Boosey & Hawkes.RetrievedFebruary 26,2018.
  47. ^"BBVA Foundation Frontiers of Knowledge Award in Contemporary Music 2013".Archived fromthe originalon September 24, 2015.
  48. ^"58th International Festival of Contemporary Music, September 20, 2014".Archived fromthe originalon September 29, 2014.
  49. ^Imogen Tilden (March 10, 2016),"Royal College of Music honours Reich, Norrington and Jurowski",The Guardian
  50. ^Gann, Kyle(July 13, 1999)."Grand Old Youngster".The Village Voice.Archived fromthe originalon January 16, 2009.RetrievedSeptember 27,2008.
  51. ^Wise, Brian (2006)."Steve Reich @ 70 on WNYC".WNYC.Retrieved September 27, 2008.
  52. ^Joana de Belém (November 12, 2006)."O passado e o presente de Steve Reich no Porto".Diário de Notícias(in Portuguese). Archived fromthe originalon January 15, 2009.Retrieved September 27, 2008.
  53. ^"The 1975's Matty Healy in conversation with Steve Reich".The Face.May 5, 2020.RetrievedMay 5,2020.
  54. ^Hutlock, Todd (September 1, 2006)."Tortoise – A Lazarus Taxon".Stylus Magazine.Archived fromthe originalon September 17, 2006.Retrieved September 27, 2008.
  55. ^Ratliff, Ben(March 23, 1998)."TNT: Tortoise: Review".Rolling Stone.Archived fromthe originalon January 14, 2009.RetrievedSeptember 15,2017.Retrieved September 27, 2008.
  56. ^"Performers: Tortoise (Illinois)".Guelph Jazz Festival. 2008. Archived fromthe originalon September 15, 2008.Retrieved September 27, 2008.
  57. ^Stratton, Jeff (May 10, 2001)."We Have Liftoff".Broward-Palm Beach New Times.Archived fromthe originalon October 21, 2009.RetrievedSeptember 27,2008.Retrieved September 27, 2008.
  58. ^"sad".Brainwashed.RetrievedOctober 16,2011.
  59. ^John Adams:"...For him, pulsation and tonality were not just cultural artifacts. They were the lifeblood of the musical experience, natural laws. It was his triumph to find a way to embrace these fundamental principles and still create a music that felt genuine and new. He didn't reinvent the wheel so much as he showed us a new way to ride." See for instance the articles section of the"Steve Reich Website".RetrievedJanuary 31,2010.
  60. ^abEmmerson, S.(2007),Music, Electronic Media, and Culture,Ashgate, Adlershot, p. 68.
  61. ^Reich Remixed:album track listing at discogs
  62. ^da Fonseca-Wollheim, Corinna (June 22, 2017)."Cellist in an Echo Chamber, Echo Chamber".The New York Times.RetrievedMay 12,2018.
  63. ^"Questions from Anne Teresa de Keersmaeker & Answers from".Steve Reich. May 26, 2008.RetrievedFebruary 25,2023.
  64. ^"Steve Reich".redbullmusicacademy.RetrievedJune 4,2024.
  65. ^Petridis, Alexis(February 28, 2013)."Steve Reich on Schoenberg, Coltrane and Radiohead".The Guardian.RetrievedMarch 1,2013.
  66. ^*Reich, Steve (1975).Writings on Music(New ed.). USA: New York University Press. pp. 12–13.ISBN0-8147-7357-5.
  67. ^"2x5 performed by Anton Glushkin and friends".YouTube.May 25, 2020.Archivedfrom the original on December 11, 2021.
  68. ^"New Steve Reich Work for Orchestra to Premiere in Fall 2018".Boosey & Hawkes.March 2018. Archived fromthe originalon July 17, 2018.

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