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In the 1980s, Steve Reich stopped composing for symphony orchestra due to conductors and classical musicians who did not understand his unconventional style. The first concert in the Hallé’s three-day celebration of Reich featured his 1985 piece, The Desert Music, which led to his decision to move away from orchestral writing. Additionally, the concert also showcased his 2018 composition, Music for Ensemble and Orchestra, which marked his return to composing for orchestras and was inspired by a younger generation who appreciated his complex rhythms and unique sound.
Colin Currie, the organizer of the festival, along with four percussionists from the Hallé group, began the event with an exemplary performance of Music for Pieces of Wood. Composed in 1973, this piece features five sets of wooden sticks that create a rhythmic sound reminiscent of speedy woodpeckers. The intense focus on the musicians’ expressions gradually subsided as they settled into the rhythm, with mesmerizing patterns revealing subtle changes as the piece reached its energetic finale.
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“Music for a Group and Symphony” may be Reich’s most aesthetically pleasing piece, consisting of five continuous movements. The composition features a contrast between a group of 20 soloists and the rest of the orchestra, similar to a Baroque Concerto Grosso. The driving force of the piece is provided by paired pianos and ringing vibraphones, while the strings, often accompanied by woodwinds, create Reich’s signature sounds. Under the precise direction of conductor Currie, the music comes together in delicate layers of sound and emotive melodies, resulting in moments of dazzling beauty.
The piece titled The Desert Music features lyrics by William Carlos Williams (at 16 years old, Reich was intrigued by the poet’s palindrome name). With a grand ensemble, Currie began the performance with a powerful and rhythmic sound, led by four pianists, two timpanists, and a group of percussive instruments. While the sheer loudness sometimes muddled the layers of sound, the technical execution was skillfully done.
Leaner moments provided welcome relief, as when delicate dancing fiddles engaged in a fleeting hoedown. Meanwhile, the amplified 10-strong RNCM Chamber Choir coped magnificently with text that ranged from Greek-inspired idylls to oblique meditations on “the bomb”. Reich’s tug-of-love between the meaning of words and the sounds they make came over loud and clear in Currie’s deft blend of voices and orchestra.
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The Steve Reich event will go on with Radio Rewrite being performed at Hallé St Peter’s tonight, followed by Electric Counterpoint featuring Jonny Greenwood tomorrow.
Source: theguardian.com
