Classical

Steve Reich - Different Trains Electric Counterpoint (1989)

2014-05-26T16:10:48Z

Steve Reich - Different Trains Electric Counterpoint (1989)


1. Different Trains: America - Before the War
2. Different Trains: Europe - During The War
3. Different Trains: After the War

Kronos Quartet:
David Harrington – violin
John Sherba – violin
Hank Dutt – viola
Joan Jeanrenaud - cello

4. Electric Counterpoint: Fast
5. Electric Counterpoint: Electric Counterpoint: Slow
6. Electric Counterpoint: Fast

Pat Metheny – guitar, multiinstruments

Different Trains (1988) will probably go down in history as Reich's masterpiece. And deservedly so. Reich's phase-shifting minimalism is made dazzlingly entertaining in Different Trains, which is scored for string quartet and digitally sampled voices that repeat bits of speech concerning trains and Reich's experience with them growing up. The sinister part here is than some trains carried Jews to death camps. That's here as well. The Kronos Quartet has also never sounded better. Electric Counterpoint (1987) has one guitar--Pat Metheny in this case-- playing to 10 pre-recorded motifs, also on guitar. You absolutely need this. ---Paul Cook, amazon.com

This late-'80s work finds the minimalist composer mixing acoustic and taped material to great effect. The disc's centerpiece is "Different Trains," a work that frames Reich's impressions of his boyhood train trips between his mother in Los Angeles and his father in New York; Reich also intersperses references to the much more harrowing train rides Jews were forced to take to Nazi concentration camps. Using the fine playing of the Kronos Quartet as a base, Reich layers the work with the taped train musings of his governess, a retired Pullman porter, and various Holocaust survivors -- vintage train sounds from the '30s and '40s add to the riveting arrangement. And for some nice contrast, Reich recruits guitarist Pat Metheny to create a similarly momentous piece in "Electric Counterpoint" (Metheny plays live over a multi-tracked tape of ten guitars and two electric basses). Two fine works by Reich in his prime. ---Stephen Cook, Rovi

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Steve Reich - Drumming (2018)

2018-04-16T13:36:58Z

Steve Reich - Drumming (2018)


1. Drumming: Part I [16:28]
2. Drumming: Part II [17:22]
3. Drumming: Part III [11:47]
4. Drumming: Part IV [09:30]

Colin Currie Group

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.

Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing – pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.

The premier performances of Drumming took place in December 1971 in New York City – first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made – and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.

Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974. ---superiorviaduct.com

Eight bongos, three marimbas, two women’s voices (one doubling as a whistler), three glockenspiels and a piccolo; that’s the line-up for Steve Reich’s masterpiece Drumming. In live performance it is all amplified, though not for the reason you might first expect. Certainly it makes it louder and helps the music punch through; however the real reason for amplification is to balance the wildly different timbres of the instruments and voices and to help bring forward their character and colour.

Steve’s music is a treat to mix live. It is at once still, yet driven forward by kaleidoscopic changes in timbre and teasing melodic and rhythmic ambiguities. Indeed, some of the melodies and rhythms we hear are not even notated in the score. They result from the collision of repeated patterns; but more interestingly, they also arise from the fusion of the harmonics of those sounds. It’s an aural illusion, a subtle alchemy in sound and it’s why I love this piece.

In recording Drumming for this album, Colin wanted to preserve the thrilling sound of live performance and combine it with the precision of a studio session. We began by laying out the studio exactly as we would a stage, with marimbas on the left, glocks on the right, singers and piccolo at the back and bongos front and centre; you’ll hear this in the recording. We chose not to vary the layout with each movement; by wheeling marimbas into the centre of the image for Part 2 for example. Then we miked it as we would for a live show – close up. A second array of microphones, this time with a bit more distance between the instruments and the microphones, gave us a sense of space and depth. The recording you’ll hear is a mix of all these perspectives. It gave us the possibility of focusing in on musical lines when they’d be otherwise lost in the overall sound; it’s something I have to do all the time when I’m mixing a live show.

Each performance of Drumming is unique and differs in subtle ways from any other, particularly during the phasing of patterns. To put this another way, whilst the destination points for the phasing of patterns remain the same, the journeys to them are always different. This makes editing tricky and so we made a point of recording in long takes, allowing patterns to evolve naturally and with fluency.

We recorded the work in one single - exhilarating - day in May 2017. ---Ian Dearden, gramophone.co.uk

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Steve Reich - Pulse / Quartet (2018)

2018-02-19T15:36:03Z

Steve Reich - Pulse / Quartet (2018)


1.Pulse 
2.Quartet Mvt I
3.Quartet Mvt II
4.Quartet Mvt III 

International Contemporary Ensemble
Colin Currie Group

In 2016, composer Steve Reich celebrated a milestone birthday and to mark the occasion an upward of hundreds of performances of his work were performed at various places around the globe. These performances and celebrations just confirmed the almost unfathomable beauty and timelessness of his oeuvre as they represented 50 years in music. They also confirmed why he is an important part of the contemporary music landscape for many generations and not just in classical music.

Apart from revisiting past achievements from his large oeuvre, during the celebrations named "Reich at 80," he also premiered a new piece "Pulse" which is now a part of the new album titled Pulse/Quartet that unites two recent compositions of his. "Pulse" dates from 2015 and was partially inspired Daft Punk's collaboration with the esteemed 70's producer Giorgio Moroder "Giorgio by Moroder." That is evident in the electric bass that pulsates behind the melodies and movements. This is not the first time he has been inspired to write based on popular music as his previous outing Radio Rewrite was a five-movement piece that was built on themes from various Radiohead songs. "Pulse" was written for winds (clarinet and flute), strings, piano and an electric bass where the melodies stretch in arching lines. What is astonishing is the variety of sounds Reich has conjured from them. It's a contemplative piece where every sound brims with life and the instruments seamlessly blend together thus achieving a layering effect.

The pulse has always been the heartbeat of Reich's music and this is more evident in "Quartet" which is one of the most complex pieces that Reich has ever composed because of the frequent change of keys. It's written for two pianos and two vibraphones and is performed by the Colin Currie Group. The Quartet is far more optimistic in tone and it reveals the fragmentary nature of Reich's melodies. The repetitive segments and the pulsating effect which are fundamental for Reich's music are more subdued in the segments and he uses these segments to achieve create a hypnotic effect. The instruments reiterate certain phrases, pulses, sounds and they always interact with each other. The combination of two pianos and the two vibraphones provides a rhythmic and harmonic foundation over which steady rhythms and intricate melodies mesh and layer together. There is that pulsating vitality that As a result, this gives the impression of a flowing effect where the music that gradually evolves and dissolves. It is tempting to label this music merely as minimalism, but to do so would be slightly misleading because there is so much happening in the midst of the pulse patterns and the layering melodies and sounds. Pulse/Quartet is a brilliant recording by a composer though he's been around for many years is hitting his stride. The music is profound, enchanting, accessible and engaging. ---Nenad Georgievski, allaboutjazz.com

Najnowsze dokonania legendy muzyki współczesnej i współtwórcy minimalu, Steve'a Reicha. "Pulse" (2016) został zarejestrowany w wykonaniu International Contemporary Ensemble. To bardzo spokojny materiał, oparty na jednej, prostej melodii.

"Quartet" z 2013 roku został napisany przez Reicha na dwa wibrafony i dwa fortepiany. To pierwsze dzieła Amerykanina na takie instrumentarium w jego ponad 50-letniej karierze. Utwór zarejestrowano w wykonaniu Colin Currie Group. ---warnermusic.pl

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Steve Reich - Tehillim (Psalms) [1981]

2015-03-20T17:38:35Z

Steve Reich - Tehillim (Psalms) [1981]


1 	Part I: Fast 	11:46
2 	Part II: Fast 	5:54
3 	Part III: Slow 	6:19
4 	Part IV: Fast 	6:21

Barbara Borden,  Tannie Willemstijn – soprano
Ananda Goud, Yvonne Benschop – mezzo-soprano
Schönberg Ensemble
Percussion Group The Hague
Reinbert de Leeuw – conductor

Many long-time watchers along the Reich were somewhat nonplussed by Tehillim (Hebrew for "psalms"). Instead of regular rhythmic patterns slowly varied over a stretch of time, the patterns themselves were complexly asymmetrical. Reich, of course, had seldom repeated himself from piece to piece, so they should have expected this. Reich himself explains the change as a matter of dealing with the rhythms of text for the first time. Almost every composer who has set words finds himself coming up with phrasing and declamation different than for purely instrumental music. For example, when Holst writes "advanced rhythms" for orchestra, they are generally odd meters but arranged in a regular pattern ("Mars" from The Planets, for instance). On the other hand, I know of no Holst instrumental work with the rhythmic oddities of his song "Persephone" (from Twelve Humbert Wolfe Songs). These tics in the line come about solely from the rhythms of the poem. Again, Reich works with the idea of "phase," this time by writing canons ("organic phase," if you will) with more and more voices and closer and closer entrances - so close, in fact, that the words eventually become obliterated, and we get instead increasingly complex and joyous polyrhythms - rhythms formed by competing different constituent rhythms. Indeed, this tends to be Reich's notion of counterpoint, and it definitely comes from a drummer. I imagine that his music would appeal strongly to other drummers as well.

Tehillim begins with a joyful noise that just about bypasses the brain altogether and heads directly for the feet. If you can keep your feet from tapping or your fingers from snapping, you probably can also eat just one potato chip. The basic idea is essentially a complex one, more than enough to belie the label "minimalist." However, Reich unfolds his ideas slowly and carefully - he prefers to call what he writes "process music" - and instead of listening for dramatic contrasts of themes or a narrative structure underlying the music, you find yourself listening to a process working itself out. It has the fascination of watching intricate clockwork. If you expect, say, Sibelius or even Stravinsky, you will be disappointed. Like Schoenberg and Webern, Reich forces you to listen to music in a new way.

I can't tell you whether Reich is a Great Composer. I don't look for them, because, frankly, I wouldn't know what to look for. I listen to music for pure hedonism: because I like it, not because it will make me a better person. Beethoven, with uncanny point, called music the bridge between the intellect and the senses - a definition that may lack completeness, but I've never seen a better description of at least one of music's functions. In Tehillim, Reich's constituent rhythms move the senses, while their workings-out tickle the intellect. --- Steve Schwartz, classical.net

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Steve Reich - The Desert Music (1990)

2011-02-04T19:42:42Z

Steve Reich - The Desert Music (1990)


1. The Desert Music: First Movement (Fast)
2. The Desert Music: Second Movement (Moderate)
3. The Desert Music: Third Movement Part One (Slow)
4. The Desert Music: Third Movement Part Two (Moderate)
5. The Desert Music: Third Movement Part Three (Slow)
6. The Desert Music: Fourth Movement (Moderate)        play
7. The Desert Music: Fifth Movement (Fast)

Brooklyn Philharmonic [members of]
Michael Tilson Thomas – conductor

Stephen Michael “Steve” Reich (born October 3, 1936) is an American composer who pioneered the style of minimalist music.

Michael Tilson Thomas's advocacy of American mavericks has long been a significant facet of his career. This disc offers an outstanding example of his championship of Steve Reich, whose stature among composers of his generation only continues to increase. There's a famous story of a 1973 Carnegie Hall concert with MTT participating as one of the performers of Four Organs, during which a near riot ensued, reminding some of the heated reception that attended the legendary Rite of Spring premiere in Paris. The Desert Music--given its premiere in 1984 under MTT--marks a departure for Reich from his writing for smaller groups and calls instead for a vast orchestral ensemble and chorus. This visionary cantata reflects the composer's belief that "the particular is the nub of the universal," setting lapidary but prophetic texts by William Carlos Williams, whom Reich considers the most resonant of modern American poets. MTT clearly understands how this music conveys its effect of moving not just through time but through space; he allows the score's harmonic density to coalesce into shimmering, mirage-like chords without losing sight of its complex overlay of asymmetry against regular, driving pulses. The chorus, too, is beautifully blended--sometimes imitating the iterations of percussion instruments--as Reich's musical textures oscillate between despair and hope, fire and light. " The mind is listening," says Williams, and MTT conveys its impressions with maximum clarity. ---Thomas May

Steve Reich (Stephen Michael Reich, ur. 3 października 1936 w Nowym Jorku) – amerykański kompozytor, jeden z pionierów minimalizmu w muzyce.

W 1966 założył zespół Steve Reich & Musicans, mający wykonywać utwory autorstwa założyciela. Od roku 1967 do 1969 Reich eksperymentował z efektem sprzężenia zwrotnego wywoływanego przy pomocy mikrofonów, wzmacniaczy i głośników. Efektem tych działań są Pulse Music i Pandulum Music. Jednocześnie zgłębiał zagadnienie repetytacji i frazowania w muzyce akustycznej. Tworzył utwory polegające na odtwarzaniu z taśmy uprzednio zarejestrowanej frazy z jednoczesnym odgrywaniem jej na żywo, w szybszym tempie przez muzyka. Na podobnej zasadzie frazowania opracował utwory na muzyka oraz grupę muzyków (Piano Phase z 1967, Four Organs z 1970) czy też grupę i taśmę (Violin Phase z 1970). W 1976 roku stworzył pierwszy utwór zwiastujący zmiany w stylu kompozytora. W Music for 18 musicans, napisanym dla największej jak dotąd w karierze Reicha grupy muzyków, porzucił ograniczenia muzyki minimalistycznej ma rzecz charakterystycznej dla siebie struktury. W roku 1981 Reich skomponował Tehillim, efekt wcześniejszych studiów nad hebrajską recytacją. Pierwszy poważny utwór wokalny w karierze kompozytora stanowi zbiór religijnych psalmów wykonywanych w języku hebrajskim. Wątek wokalny kompozytor kontynuował w monumentalnej symfonii The Desert Music skomponowanej w 1984. W wykonywanej przez Steve Reich & Musicians oraz orkiestrę i chór Filharmoników Brooklyńskich kompozycji kluczową rolę odgrywa poezja Williama Carlosa Williamsa. Jest to pierwszy utwór Reicha, w którym nie znalazły się żadne elementy minimalizmu.

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Steve Reich ‎– Octet • Music For A Large Ensemble • Violin Phase (1980)

2017-08-20T13:31:53Z

Steve Reich ‎– Octet • Music For A Large Ensemble • Violin Phase (1980)


A1 	Music For A Large Ensemble	15:28

Cello – Chris Finckel, Michael Finckel
Clarinet – Richard Cohen, Virgil Blackwell
Double Bass – Judith Sugarman, Lewis Paer
Flute – Mort Silver
Marimba – Gary Schall, Glen Velez, Richard Schwarz, Russ Hartenberger
Piano – Edmund Niemann, Larry Karush, Nurit Tilles, Steve Reich
Soprano Saxophone – Ed Joffe, Vincent Gnojek
Trumpet – Douglas Hedwig, James Dooley, James Hamlin, Marshall Farr
Vibraphone – James Preiss
Viola – Claire Bergman, Ruth Siegler
Violin – Robert Chausow, Shem Guibbory
Voice – Elizabeth Arnold, Jay Clayton
Xylophone – Bob Becker, David Van Tieghem

A2 	Violin Phase	15:09

Violin – Shem Guibbory

B 	Octet		17:29

Cello – Chris Finckel
Clarinet, Bass Clarinet, Flute, Piccolo Flute – Mort Silver, Virgil Blackwell
Piano – Edmund Niemann, Nurit Tilles
Viola – Ruth Siegler
Violin – Robert Chausow, Shem Guibbory

Steve Reich's commercial success had ballooned after his prior release on ECM, Music for 18 Musicians, and this collection of three compositions, two new and one from 1967, was the follow-up. Music for a Large Ensemble is very much of a piece with the prior work, using extended melodic lines, a larger palette of sound colors, and key changes every several minutes. It's charming and pleasantly busy in an industrious way but really covers little new ground. The remaining two pieces are where the real meat lies. Violin Phase was written early in the composer's career, when he was just working through the core ideas of his brand of minimalism alongside similar "phase" works for piano and electric organ. Scored for solo violin and played by the brilliant Shem Guibbory, the violinist plays against tapes of himself, beginning in strict unison but gradually speeding up or slowing down, generating one fascinatingly unexpected pattern after another. The intellectual rigor and breathtaking purity of the music makes one wish, perhaps, that Reich would forego the added ornamentation of his later years. Ironically, given the genre, some of the lines have an almost romantic quality to them, giving the work a striving, even heroic character. Octet represented a step ahead from the opening piece. Scaled back in instrumentation, with spikier (even jazzy) rhythms (bass clarinets scurrying rapidly hither and yon) and more overtly melodic material (some of it inspired by his recent study of Hebrew cantillation), Reich managed once again to successfully balance process with content in a manner that would reach its apex for this period with his subsequent Sextet. Listeners who only came to know Reich through his even more popular works like Different Trains and The Cave owe it to themselves to seek out recordings like this and earlier releases to hear his concept in its clearest and boldest context. Highly recommended. ---Brian Olewnick, AllMusic Review

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Steve Reich – Eight Lines • City Life (2020)

2021-02-22T13:52:19Z

Steve Reich – Eight Lines • City Life (2020)


1		Music For Two Or More Pianos (1964)	10:57
2		Eight Lines For Ensemble (1979/1983)	17:12
3		Vermont Counterpoint For Flutes And Tape (1982)	9:33
New York Counterpoint For Clarinets And Tape (1985)	(12:07)
4		[1/4 Note] = Ca. 184	4:56
5		[1/4 Note] = Ca. 92	2:40
6		[1/4 Note] = Ca. 184	3:31
City Life For Ensemble (1995)	(24:12)
7		Check It Out	6:07
8		Pile Driver/Alarms	4:03
9		It's Been A Honeymoon – Can't Take No Mo'	5:09
10		Heartbeats/Boats And Buoys	3:57
11		Heavy Smoke	4:56

Holst-Sinfonietta
Conductor – Klaus Simon (tracks: 2, 7 to 11)
Piano [I] – Klaus Simon (track: 1)
Piano [II] – Jörg Schweinbenz (track: 1)
Flute – Anne Parisot, Delphine Roche (track: 2)
Clarinet – Andrea Nagy (track: 4 - 6)

Steve Reich is universally acknowledged as one of the foremost exponents of minimalism, arguably the most significant stylistic trend in late 20th-century music. This chronological survey shows how Reich’s innate curiosity has taken his work far beyond such musical boundaries. One of the first fruits of Reich’s creative quest is ‘Music for Two of More Pianos,’ in which the influence of Morton Feldman and jazz pianist Bill Evans can be heard. The rhythmic and flamboyant ‘Eight Lines’ comes from the true heyday of minimalism, while ‘Vermont’ and ‘New York Counterpoint’ both explore webs of phased patterns created by multi-tracked instruments. ‘City Life’ is a dramatic set of impressions of New York, vividly weaving sampled speech and street sounds into a work with symphonic depth of range and expression. ---chandos.net

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Steve Reich – WTC 911 (2011)

2011-10-07T08:41:32Z

Steve Reich – WTC 911 (2011)


1. WTC 9/11: I 9/11; 
2. WTC 9/11: II 2010; 
3. WTC 9/11: III WTC; 			play
4. Mallet Quartet: I Fast; 
5. Mallet Quartet: II Slow; 
6. Mallet Quartet: III Fast; 
7. Dance Patterns

Performer:
WTC 9/11 (2010):
Kronos Quartet (David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Jeffrey Zeigler, cello). Mallet Quartet (2009): 
Sō Percussion (Eric Beach, Jason Treuting, vibraphone; Josh Quillen, Adam Sliwinski, marimba).
Dance Patterns (2002): 
James Preiss, Thad Wheeler, vibraphone; Frank Cassara, Garry Kvistad, xylophone; Edmund Niemann, Nurit Tilles, piano.

The first performance of WTC 9/11, Steve Reich's memorial to September 11, took place at Duke University-- 500 miles south of Ground Zero. From there, it traveled to L.A.-- nearly 3,000 miles west of the attacks it commemorated-- before touching down in Carnegie Hall a month later. It was an oddly circuitous cross-country tiptoe for a work by a native New Yorker about the collapse of the towers he lived four blocks from, but it spoke to the fearsome difficulty in addressing 9/11 headlong. There is still, 10 years later, an instinctive flinch mechanism built into our communal central nervous system surrounding the day, and it presents a forbidding hurdle for artists attempting to speak to it.

Reich, as unofficial American composer laureate and a quintessentially New York City figure, would seem more outwardly qualified than most, which only makes his failure all the more disheartening. WTC 9/11 takes the same form as Reich's Different Trains, another piece that treated an atrocity-- in that instance, the trains transporting Jews to concentration camps-- with a sorrowful Zen gaze. Like Trains, WTC pairs the Kronos Quartet with manipulated recorded voices, the strings accompanying the recordings to draw out the anxious unheard music in their intonation and rhythm. It's a spectacular compositional technique, bridging the invisible gap where words become music.

Within minutes, however, WTC 9/11 rams up against an unavoidable problem: These raw materials are, well, simply too raw. The voices Reich highlights in his music are a mix emergency dispatches from 9/11 and interviews conducted in 2010 with his close friends. Much of what they say is nearly unbearable to hear, even a decade on. If there is a way to subsume a 9/11 survivor saying, "Three thousand people were murdered. What's gonna happen here next?" into a larger musical work, Reich didn't find it. The words burn through the music's fabric like tissue paper, leaving you jarred but neither enlightened nor transformed.

The smaller moments in the piece, painting the texture of daily life on the morning of the attacks, ring true with tension and foreboding. The conversational, lilting swing of "I was sitting in class. Four blocks north of Ground Zero", for instance. A sobbing cello catches the falling note of plaint in the phrase "Nobody knew what to do." At the intonation of "We all thought it was an accident" (spoken by Reich’s friend and colleague, Bang on a Can co-founder David Lang), the strings allow a brief glint of a major key to peak in, a moment of fugitive hope. Unfortunately, the moments that freeze you in place -- lines like "debris engulfed everybody that was there," or a desperate shout of "I'm trapped in the rubble"-- owe nothing at all to Reich's music; indeed, they all but erase your awareness of the music around them.

The Nonesuch recording of WTC 9/11 is rounded out by other recent-vintage Reich pieces, and to spend time in their company after the heightened, jagged WTC is a relief. His 2009 Mallet Quartet is a delicate and ringing interlocking of marimbas that feels as cleansing as spring rain, while Dance Patterns, for a battery of vibraphones, xylophones, and pianos, plays like a glistening, fond medley of Reichisms. The framework of Reich's pieces feels well-worn by now-- his "fast-slow-fast" structure now has a "loud-quiet-loud," "verse-chorus-verse" inevitability to it. The shifts in key midway through movements feel less like the blooming of an unexpected thought now than slides in a ViewMaster clicking duly into place. You smile and nod knowingly, but the goosebumps are gone. --- Jayson Greene, pitchfork.com

Muzyka Steve'a Reicha - Nowojorczyka, jednego z najważniejszych współcześnie kompozytorów - napisana z okazji 10 rocznicy ataku na Amerykę jest swoistą, subiektywną, prywatną wręcz, kroniką tych wydarzeń, powstałą z kolażu słów nocznych świadków i muzyki Kronos Quartet, z którymi Reich współpracuje już przeszło 20 lat. Choć "dokumentalny" pomysł na tę kompozycję wydaje się dość prosty, nie zmienia to faktu, że podczas słuchania trudno pozostać na tę muzykę niewzruszonym.

Kompozycja Reicha składa się z trzech części – pierwsza to zapis dźwięków z czasu ataku - głosy kontrolerów lotu, raportujących katastrofę. Druga to komentarze pracowników służb ratunkowych, dzielących się swoimi wspomnieniami z perspektywy czasu. „Drugi samolot przeleciał nad naszymi głowami”, „Myślałem, że to wypadek”, „Wszyscy biegali”, „Ludzie skakali z budynków”. „Chaos”. Trzecia część to wspomnienia sąsiadów Reicha, opowiadających o tym, co działo się w pierwszych kilku, kilkudziesięciu godzinach po ataku. „Ciała zostały przeniesione do namiotów na wschodnim Manhattanie”. „Całą noc śpiewaliśmy piosenki”. „Po prostu siedziałem” i próba konstrukcji wizji tego, co będzie dalej, pozostająca bez odpowiedzi – „and there's a world right here”.

Muzyka Kronos Quartet podąża za nagranymi głosami, śledzi ich muzyczność, naśladując melodię nagranych wypowiedzi świadków. WTC 9/11 to kompozycja-słuchowisko, memento – właściwie sprowadzone do najprostszej, najczystszej muzycznie postaci.

Album WTC 9/11 dopełniają dwie wcześniejsze kompozycje Reicha - Mallet Quartet wykonane przez Sō Percussion na 2 wibrafony i 2 marimby (do kompaktowego wydania tego albumu dołączone będzie DVD z wykonaniem tego utworu) oraz Dance Patterns, powstałe pierwotnie jako muzyka do filmu Counterphrases of Anne Terese de Keersmaeker’s Choreography rozpisnana na ksylofon, wibrafon i fortepian. --- Kajetan Prochyra, jazzarium.pl

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