Steve Reich est décrit par Village Voice comme le « meilleur compositeur américain encore en vie », par le New Yorker comme « le penseur musical le plus original de notre époque » et par le New York Times comme « faisant partie des meilleurs compositeurs du siècle ». Sa musique a influencé des compositeurs et des musiciens populaires du monde entier. Avec Music for 18 Musicians et Different Trains, il a remporté deux Grammy Awards et en 2009, son Double Sextet lui permet de recevoir le prix Pulitzer. Ses opéras vidéos documentaires The Cave et Three Tales, en collaboration avec le vidéaste Beryl Korot, sont joués sur quatre continents. Son Quartet récemment écrit pour le percussionniste Colin Currie a donné lieu à deux concerts consécutifs à guichets fermés au Queen Elizabeth Hall de Londres, peu de temps après que des dizaines de milliers de spectateurs du Glastonbury aient entendu Jonny Greenwood (de Radiohead) jouer Electric Counterpoint, suivi de Music for 18 Musicians joué par le London Sinfonietta.
En 2012, Steve Reich reçoit la médaille d’or de l’Académie américaine des arts et des lettres. Il a en outre reçu le Praemium Imperiale à Tokyo, le prix Polar Music à Stockholm, un prix de la Fondation BBVA à Madrid et, récemment, un Lion d’or lors de la Biennale de Venise. Il a également été nommé Commandeur de l’Ordre des Arts et des Lettres et a, entre autres, reçu des doctorats honoris causa du Royal College of Music de Londres, de la Juilliard School, de l’Académie de musique Liszt de Budapest et du Conservatoire de musique de la Nouvelle-Angleterre. Selon The Guardian, « Seul un petit nombre de compositeurs encore en vie peuvent légitimement dire qu’ils ont changé le cours de l’histoire de la musique, Steve Reich en fait partie ».
Août 2018 (Trad. Source : Ed. Boosey & Hawkes)
Music for Ensemble and Orchestra is an extension of the Baroque Concerto Grossowhere there is more than one soloist. Here there are 20 soloists—all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos.
The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runnerof 2016 which has the same five movement form.
Steve Reich
Quartet, was written for Colin Currie, is doser in mood to Mallet Quartet than Sextet. The quartet of two pianos and two vibraphones has played a central role in Reich's work, appearing in pieces since the early 1980s, yet this is the first time he has written for the four instruments alone.
The soundworld is therefore familiar Reich, and so are many of the techniques. Again it uses the fast-slowfast structure ; the music is full of Clapping Music-type rhythms ; and many of the textures are built from layers and canons. What is new is the pace of change : the canons are much shorter (at the start of the piece only a few notes long) and the harmonie changes come more frequently. And instead of dividing into melody and accompaniment, as in Mallet Quartet, the instruments play much more with different pairings among themselves. Just like a classical string quartet the ensemble is completely balanced, with no instrument coming to the fore, echoing Reich's suggestion that this is his classic line-up.
Steve Reich
Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion. It appears like that or in expanded form with more pianos or more percussion in The Desert Music, Sextet, Three Movements, The Four Sections, The Cave, Dance Patterns, Three Tales, You Are (Variations), Variations for Vibes, Pianos and Strings, Daniel Variations, Double Sextet, and Radio Rewrite. In Quartet, there is just this group alone: two vibes and two pianos.
The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity.
The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music.
The piece is dedicated to Colin Currie, a percussionist who has broken the mold by maintaining his solo career with orchestras and recitals and also, quite amazingly, by founding the Colin Currie Group which plays whatever ensemble music he believes in. I salute him and hope others will take note.