Octet; Music for a Large Ensemble; Violin Phase
By Steve Reich
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Track listing
Show track credits
- A1 Music for a Large Ensemble 15:30
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marimba
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marimba
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marimba
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Richard Schwarzmarimba
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vibraphone
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vibraphone
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vibraphone
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piano
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piano
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piano
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piano
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voice
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voice
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Robert Chausowviolin
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Ruth Sieglerviola
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viola
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cello
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cello
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bass
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bass
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clarinet
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clarinet
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flute
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Ed Joffesoprano saxophone
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Vincent Gnojeksoprano saxophone
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Douglas Hedwigtrumpet
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Marshall Farrtrumpet
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James Hamlintrumpet
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trumpet
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- A2 Violin Phase 15:11
- B Octet 17:30
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piano
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piano
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Robert Chausowviolin
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Ruth Sieglerviola
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cello
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clarinet, bass clarinet, flute, piccolo
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flute, clarinet, bass clarinet, piccolo
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- Total length: 48:11
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4 Issues
- Release view [combined information for all issues]
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Octet; Music for a Large Ensemble; Violin Phase [p] 33 rpm, Gatefold
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Octet; Music for a Large Ensemble; Violin Phase 33 rpm, Gatefold
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Octet - Music for a Large Ensemble - Violin Phase Digital file, Streaming
21 Reviews
"My favorite Steve Reich uses more bass tones in that almost subliminal way and goes easier on the high string tones; this does not follow that pattern, so it doesn't quite do it for me."
This review sums up my first impressions exactly.
After getting over how similar "Music for a Large Ensemble" is to "Music for 18 Musicians" at first listen, I started to notice an entirely different energy and vibe.
It's actually the third in a series of "Music for..." works. I've come to really enjoy this piece.
I first came into contact with "Violin Phase" via the London Sinfonietta's Warp Works and 20th Century Masters collection. The "official" version here is about five minutes longer, features a more gradual, even phase, and the recording captures minute harmonics that drastically shift the piece towards a more triumphant direction. Awesome.
"Octet" is fresh, bustling with classic Reich energy. The time changes from section-to-section open up a slew of rhythmic possibilities.
This disc is another home run for Reich.
Not much truly new in terms of compositional concepts.
"Octet" is the closest to that. It's no matter. Lovely music.
This review sums up my first impressions exactly.
After getting over how similar "Music for a Large Ensemble" is to "Music for 18 Musicians" at first listen, I started to notice an entirely different energy and vibe.
It's actually the third in a series of "Music for..." works. I've come to really enjoy this piece.
I first came into contact with "Violin Phase" via the London Sinfonietta's Warp Works and 20th Century Masters collection. The "official" version here is about five minutes longer, features a more gradual, even phase, and the recording captures minute harmonics that drastically shift the piece towards a more triumphant direction. Awesome.
"Octet" is fresh, bustling with classic Reich energy. The time changes from section-to-section open up a slew of rhythmic possibilities.
This disc is another home run for Reich.
Not much truly new in terms of compositional concepts.
"Octet" is the closest to that. It's no matter. Lovely music.
Published
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I purchased this long ago in a fit of Reich collecting. Some days I can't deal with it, and some days it's the best thing in the world.
Octet is probably the most accessible work here, with MfaLE coming next, though it's not nearly as engaging.
Violin Phase occupies a special place in the center of the disc. It can either completely annoy or entrance the listener. Shem Guibbory's violin tone is thankfully very full and deep, so the repeated open E string doesn't ride too stridently in the ear. However, if you're sensitive to that tone and timbre, it's going to get on your nerves regardless. Of course many will feel the piece is pointless, and I suppose from the perspective of wanting color and melody you could argue that, but enjoyment comes from hearing the phasing patterns and how rhythms, contours, and emphasis move around and transform. Come on people, it's the 21st century, get some ears.
Octet is probably the most accessible work here, with MfaLE coming next, though it's not nearly as engaging.
Violin Phase occupies a special place in the center of the disc. It can either completely annoy or entrance the listener. Shem Guibbory's violin tone is thankfully very full and deep, so the repeated open E string doesn't ride too stridently in the ear. However, if you're sensitive to that tone and timbre, it's going to get on your nerves regardless. Of course many will feel the piece is pointless, and I suppose from the perspective of wanting color and melody you could argue that, but enjoyment comes from hearing the phasing patterns and how rhythms, contours, and emphasis move around and transform. Come on people, it's the 21st century, get some ears.
Published
Music For A Large Ensemble continues where Music for 18 Musicians ended; only now, the ensemble is larger - particularly the trumpets add a new sonic flavor. So, if you hate musical minimalism per se, don't waste your time. If you liked Music for 18 Musicians, you should buy this record. Music for 18 Musicians remains Reich's masterstroke, and though I like this Music for a Large Ensemble - it's the most interesting composition on this album - I'm aware of the fact that this style clearly has its limitations. I mean, when I imagine ten more compositions like this, the ad nauseam effect would soon take over.
The Octet stylistically belongs to the aforementioned two compositions. There are interesting Hebrew elements (f.e., the clarinets), but I think the piece is a bit too long.
The Violin Phase starts with the solo violin playing a syncopated 12/8 phrase, delivering the material which is then processed by the ensemble (echo effects, fragmentation). It takes an endless 15 minutes before the tiring piece is over - thumbs down!
Bottom line: Reich's minimalism works well when it can draw from a potent starting material (the opening phrase, usually in a 6/8th rhythm since this allows interesting interferences with 4ths), and when it involves an ensemble formation which allows the repetitious patterns to create contrasting effects as they augment and diminish. But the method has its limits, something which may said of the entire minimalist approach.
The Octet stylistically belongs to the aforementioned two compositions. There are interesting Hebrew elements (f.e., the clarinets), but I think the piece is a bit too long.
The Violin Phase starts with the solo violin playing a syncopated 12/8 phrase, delivering the material which is then processed by the ensemble (echo effects, fragmentation). It takes an endless 15 minutes before the tiring piece is over - thumbs down!
Bottom line: Reich's minimalism works well when it can draw from a potent starting material (the opening phrase, usually in a 6/8th rhythm since this allows interesting interferences with 4ths), and when it involves an ensemble formation which allows the repetitious patterns to create contrasting effects as they augment and diminish. But the method has its limits, something which may said of the entire minimalist approach.
Published
Kind of sentimental for some reason, and I'm not sure why. With the exception of Violin Phase, this entire piece sounds like a whimsical adventure. It's very light and could probably fit into some open-world fantasy game. But yeah, like most people I think Violin Phase does kind of interrupt the majestic atmosphere of this album, but this is still good no doubt about it.
Published
Nice
Certainly more enjoyable than "Music for 18 Musicians", as it's not as repetitive, but still manages to evoke the same emotions and a near-hypnotic state.75/100
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Octet; Music for a Large Ensemble; Violin Phase is a 3 track collection of work by avant garde composer Steve Reich released in 1980. Steve Reich is often looked upon as a genius composer and rightly so due to his ideas,
compositions and various influences that he has incorporated into his compositions. He is known for being one of the most important people to contribute to minimalism and contemporary classical music which shows in this 3 track 48 minute album. This album shows the repetitive and hypnotic composition that Reich is known for. He often experimented with phase shifting often making certain parts drift out of sync with the rest of the composition an example would be the 15 minute piece "Violin Phase" on this album. The pieces themselves often start out very minimal then get more added on to them while still remaining minimal as they get more dense with parts and sections as on the first track, the 15 minute "Music for a Large Ensemble". Overall this is a beautiful work of minimalism and hypnotic pieces of commissioned music. Definitely check this out, if any of this interests you. Rating:4.5/5.
compositions and various influences that he has incorporated into his compositions. He is known for being one of the most important people to contribute to minimalism and contemporary classical music which shows in this 3 track 48 minute album. This album shows the repetitive and hypnotic composition that Reich is known for. He often experimented with phase shifting often making certain parts drift out of sync with the rest of the composition an example would be the 15 minute piece "Violin Phase" on this album. The pieces themselves often start out very minimal then get more added on to them while still remaining minimal as they get more dense with parts and sections as on the first track, the 15 minute "Music for a Large Ensemble". Overall this is a beautiful work of minimalism and hypnotic pieces of commissioned music. Definitely check this out, if any of this interests you. Rating:4.5/5.
Published
Honestly, I think I like this better than the more acclaimed (but equally great) Music for 18 Musicians. Only minimal in the sense you are listening to a sound concept very slowly evolve but there is plenty going on here. All the pieces are wonderful, but "Octet" stands out to me. Headphones recommended.
Published
some of my spread out thoughts
the first song is obviously very pleasant to listen to. all the marimbas and vibraphones mixed together gives it a diaphanous feel. it's like hearing a verdant rain forest or hearing a still coruscating cyan ocean.
all the instruments are repeating and following their own melodies. if you separate the instruments it sounds repetitive; but if combined it meshes into this beautiful wall of lush sound. no complaints. great song.
it's amazing what violin phase manages to do with just 3 repeating staccato violin melodies, 2 of which are the same melody just played in a different pitch. how it slowly, surreptitiously, morphs little by little, barely noticeably, until it swells into the climax
i did have a kind of specific problem with violin phase though. i had to actively go out of my way to listen to the whole picture, if i focused in on one particular violin the dissonance immediately revealed itself and everything fell apart.
octet does about the same thing as the first track, except better, as there are now more violins & cellos than last time and trumpets & flutes & pianos. the points where new instruments suddenly enter are simply magical.
Published
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