Jeff and I saw an ensemble called So Percussion play two pieces by Steve Reich at Miller Theatre on Friday. Although it could be argued that Columbia University is perhaps a tad over-enthusiastic about the man they seem to consider “America’s greatest living composer,” in this case I would say that their excitement is justified. The music of Steve Reich seems to have attained some newfound accessibility, or at least popularity, as of late. With multiple remix albums and countless re-issues and re-recordings of his back catalogue, it seems like he is the minimalist composer of the moment to name drop. I’m pretty sure the same people who put Reich Remixed on in the background while they sautee a Rachel Ray recipe, are the same ones I saw giving So Percussion a standing ovation after nodding off for 2/3 of the second piece. But enough about them.

My air of superiority aside, Steve Reich is definitely one of my favorite composers. I love his affinity for polyrhythms, and the way he will repeat a section over and over, before finally displacing one of the voices by a 16th note to make sure you’re still awake. The first piece played on Friday, Music For Pieces Of Wood, was performed by five percussionists hitting blocks of wood with various pitches. Although there isn’t much going on dynamically (or obviously tonally), the piece has some amazing rhythmic ideas. The individual players will be playing along in different time signatures, and everything will be on the verge of just sounding like noise, when they suddenly all pull together and play in unison for a brief moment. It’s a fairly simple premise, to keep building more and more contrupuntal movement, and stripping it all away at once, but the effect it has is pretty incredible.

The second piece is probably my favorite by Reich, Music For 18 Musicians. For the most part, all 55 minutes are built on a couple suspended chords that alternate gradually. The main reason I find this piece so beautiful is the different orchestration techniques he uses, and the various timbres he is able to create with his pallette. You will hear the same chord swell several times in a row, but each time it evolves. First it might be three female voices, a marimba, and a cello; next it might be a violin, baritone sax, bass clarinet, and piano, etc. The colors of the piece are amazing, and in the end, it really can’t be described. If you haven’t heard this piece, you should really check it out. It’s even more moving in a live setting.

The players themselves are obviously very talented, to be able to pull of something so complex, so effectively. It was definitely entertaining to watch, as the performers wandered about the stage between instruments, with three people sometimes squeezed in to play on a single marimba. Of course, the question now is how I will take this experience and use all these ideas in my own music. Jeff and I agreed that we would need another melodic instrument before we could pull off any additive rhythm type stuff, but it’s definitely something we want to do more of. King Crimson was able to do it on Three Of A Perfect Pair with just two guitars, so it is possible.

To summarize, here are the things you should take away from my ramblings:
1. Steve Reich is awesome.
2. So Percussion are awesome.
3. Rachel Ray is lame.
4. If you know anyone who plays guitar, tell them how they’re really not reaching their full potential unless they’re playing with Astronaut Down.

That is all.