Steve Reich - Music for 18 Musicians (1978)

#Músicaparaelencierro. Y siguiendo con el minimalismo, Roberto I. Quesada nos comenta sobre un disco que ya había sido presentado por Calle Neptuno hace tiempo: "Disco recomendado para aquellos progresivos con mente y oídos abiertos a las corrientes vanguardistas y a la buena música en general (no solo de rock vive el hombre) y para los neófitos que quieran entrarle fuerte al minimalismo" nos cierra su comentario. Así es que revivimos un posteo hecho hace tiempo con comentarios nuevos y jugosos de esos que nos gustan. Y seguimos con otra semana de minimalismo en el blog cabezón!

La estructura rítmica es más sólida en este trabajo, apoyada por numerosos pianos e instrumentos de mallet (martinete suave: marimbas, xilófonos, metalófono). Al mismo tiempo, su duración permite desarrollar las ideas del autor que se estructuran en figuras dictadas por la capacidad de respiración de los ejecutantes que usan el aliento (voces y vientos). El conjunto es una extraordinaria muestra de música minimalista, que podríamos reconocer como paradigma del género.

Music for 18 Musicians is a work of musical minimalism composed by Steve Reich during 1974-1976. Its world premiere was on April 24, 1976 at The Town Hall in New York City. Following this, a recording of the piece was released by ECM New Series.
In his introduction to the score, Reich mentions that although the piece is named Music for 18 Musicians, it is not necessarily advisable to perform the piece with that few players due to the extensive doubling it requires. With only 18 musicians, the parts are divided as follows:

1. violin
2. cello
3. female voice
4. female voice
5. female voice
6. piano
7. piano
8. piano and maracas
9. marimba and maracas
10. marimba and xylophone
11. marimba and xylophone
12. marimba and xylophone
13. metallophone and piano
14. piano and marimba
15. marimba, xylophone, and piano
16. clarinet and bass clarinet
17. clarinet and bass clarinet
18. female voice and piano

The piece is based on a cycle of eleven chords. A small piece of music is based on each chord, and the piece returns to the original cycle at the end. The sections are named "Pulses", and Section I-XI. This was Reich's first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. The player plays the pulsing note for as long as he can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held. The metallophone (unplugged vibraphone), is used to cue the ensemble to change patterns or sections.
Some sections of the piece have a chiastic ABCDCBA structure, and Reich noted that this one work contained more harmonic movement in the first five minutes than any other work he had previously written.
There have been many performances of the piece, and six commercial recordings:

• The original ECM version played by Steve Reich and Musicians
• The Ensemble Modern version
• The Nonesuch version, played by Reich and musicians along with new musicians, a new recording of which is included on Steve Reich: Works 1965-1995
• The Amadinda Percussion Group version, a live concert recording
• The Grand Valley State University New Music Ensemble version
  • This 2007 Innova release, the first recorded in surround sound, has received critical praise nationwide, including from Steve Reich.
• The Harmonia Mundi version, played by Ensemble Signal.