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steve reich's music is always fascinating to me

Confused Crap.

1:37:30

18:54,19:10

1:55:36 Hit it, boys.

anyone has the score for this? can't seem to find it on IMSLP

Man this is incredible music!!

3:33 6:12

Kinda sounds like a train, wonder if that was intentional

This is not corny, it is poetry.

cam here after brahms 4. I hear brahms 4.

I’ve always loved this music, stupendous, pure.

Craziest version ever ❤🤯

8:08 or so, I've always wanted to see a pianist playing those RH octaves live. Good lord that's fast.

One of the first Reich pieces I heard 30 odd years ago. I loved the train sounds, the rhythms including paradiddles, using voice speech patterns as the melody (Reich explains he did this to create authenticity), the choice of words. But most of all I find it intensely moving - especially the 3rd movement. Reich is a genius and has written many great works - this is one of his very best.

thank you!

thank you for your service

Fantastic ...Reminds of Watching Whitewater Sam

Just now reading “Symphony for the City of the Dead” by MT Anderson. Shostakovich wrote this Opus at age 15 following the untimely death of his father. Very well explained in the “….more” section of the video.

Imagine trying to conduct this. Just when you think you've handled the tempo changes you have to deal with a rogue bar of 5/8, or keep time through a long section felt in 6/8.

Sublime. Je ne connaissais pas cette version orchestrale...Merci pour la découverte. ❤

I wasn’t ready for the final section. I’m overwhelmed especially given the unfortunate cyclical nature of things.

Well done! Thank you for sharing!

Was planning to do a score video for this, pleased to see I do not need to! Many thanks for uploading.

Hey Sohan, thanks for sharing scores on your channel. I have hard times finding contemporary scores on internet do you have some tips about your sources ? Best regards. Paul

Fascinating initially. Ultimately irritating. As with just about all Reich's work.

I like Steve Reich and I was not prepared for the genuine emotional weight of this piece.

quite delicious......

Straight up lovely!

Every time I hear this piece I find more to love about it

No other composer can imitate this style of writing. Unlike the other works Steve Reich has composed, this one tells his life story. The listeners cannot help but to totally immerse themselves into the horror of what he might have lived through during WW2, had they stayed in Europe. A very unique piece.

How would you like to be a mediocre composer remembered primarily for "adapting" - plagiarizing - a folk song? 🤔

FINALLY

This is pure love ❤️✨

Move over Philip Glass😅

Definitely an Acquired Taste.....Wish I were younger......BRAVO from Mexico!

Love it!

always found american style classical corny sounding, except Dvoraks 9th

18:38

Thank you much for the score.

6:12

Nice.

20:22

John Adams's Nixon in China is a very good opera -- his first -- which will probably be around a long time. (His second, The Death of Klinghoffer, created with essentially the same "team," is a very bad opera. It's always a crap shoot...)

John Adams' Notes: As a child growing up in New Hampshire and having for a mother an old-school liberal Democrat, an active selfless party volunteer, I developed early on a fascination for American political life. The city of Concord, where I attended high school, was the nerve central of the presidential primary campaigns which rolled into town every four years, bringing with them the obligatory discharges of hot air, free canapés, and air-brushed, glad-handing candidates. I shook JFK’s hand the night before he won the New Hampshire primary in 1960, and the first vote I ever cast was for the maverick Eugene McCarthy, whose 1968 campaign ultimately signaled the resignation of Lyndon Johnson and the slow winding down of the Vietnam War. So it was somewhat of a natural fit when the topic of Richard Nixon, Mao Tse-tung, capitalism, and communism should be proposed to me as the subject for an opera. The idea was that of the stage director Peter Sellars, whom I’d met-in New Hampshire, fittingly enough-in the summer of 1983. I was slow to realize the brilliance of his idea, however. By 1983 Nixon had become the stuff of bad, predictable comedy routines, and it was difficult to untangle my own personal animosity-he’d tried to send me to Vietnam-from the larger historical picture. But when the poet Alice Goodman agreed to write a verse libretto in couplets, the project suddenly took on an wonderfully complex guise, part epic, part satire, part a parody of political posturing, and part serious examination of historical, philosophical, and even gender issues. All of this centered on six extraordinary personalities: the Nixons, Chairman Mao and Chiang Ch’ing (a.k.a. Madame Mao), Chou En-lai, and Henry Kissinger. Was this not something, both in the sense of story and characterization, that only grand opera could treat? Nixon in China took two full years to complete. Throughout the composing I felt like I was pregnant with the royal heir, so great was the attention focussed on it by the media and the musical community at large. The closer I came to completing the score, the more apparent it became that there would be no sneaking this opera out discreetly in workshop. As it turned out, an unstaged sing-through with piano accompaniment done in San Francisco five months before the actual premiere attracted critics from twelve national newspapers and was even mentioned (and sardonically dismissed) by Tom Brokaw on the NBC Nightly News. To my mind Alice Goodman’s poem is to me one of the great as-yet-unrecognized works of America theater. Her words are a summary, an incantation of the American experience, and her Richard Nixon is our presidential Everyman: banal, bathetic, sentimental, paranoid. Yet she does not deny him an attempt, albeit couched in homely metaphors of space travel and good business practice, to articulate a vision of American life. Adrienne Lobel’s set for the original Sellars production took its cue from Communist Chinese iconography. Reds, blues and greens were bright and unmodulated, imparting the look and feel of old propanada literature from the Cultural Revolution. The arrival of the Nixon delegation in Act I, a coup du theatre worthy of Aida (which incidentally was playing in Houston concurrently with Nixon) featured an immense replica of Air Force One, the Presidential 747 from which Nixon, Pat and Kissinger descend to be greeted by a long line of identically clad Chinese officials. The second act ballet, "The Red Detachment of Women", a study in agitprop dance, theater and music, was based on a political ballet from the period of the Cultural Revolution that had been shaped and ideologically massaged by Madame Mao. Mark Morris’s choreograpy featured the same absurd images of ballet dancers on point, dressed in the uniforms of the People’s Revolutionary Army and brandishing rifles. In composing for this scene I set for myself the equally absurd goal of making it sound as if it were the creation of a committee of composers, none of whom were sure of what the other was doing. This followed the line of the tradition of creating "people’s" art. Nixon’s 1972 trip was in fact an epochal event, one whose magnitude is hard to imagine from our present perspective, and it was perfect for Peter Sellars’s dramatic imagination. Nixon in China was for the sure the first opera ever to use a staged "media event" as the basis for its dramatic structure. Even at his young age in 1987, Peter showed a deep understanding for the way in which people in power managed to keep themselves there. He understood brilliantly how dictatorships on the right and on the left throughout the century had carefully managed public opinion through a form of public theater and the cultivation of "persona" in the political arena. Both Nixon and Mao were adept manipulators of public opinion, and the second scene of Act I, the famous meeting between Mao and Nixon, brings these two complex figures together face to face in a dialogue that oscillates between philosophical sparring and political one-upsmanship. Of particular meaning to me were the roles of the two principal women, Pat and Chiang Ch’ing. Both wives of politicians, they represented the ying and the yang of the two alternatives to living with someone immersed in power and political manipulation. Pat was the ideal, the quintessence of "family values", a woman who stood by her man (preferably a foot or two in the background), embraced his causes and wore a gracious if stoic smile through a long career that could only have seen countless bouts of depression and crushing humiliation. Chang Ch’ing began her career as a movie actress and only later enlisted in the Party, accompanying Mao on the gruelling Long March and ultimately became the power behind his throne, the mind and force behind that hideous experiment in social engineering, the Cultural Revolution. In the music I composed for these two women I tried to go beyond the caricature of their public personae and look at the fragility of each’s relationship to her spouse. In Act II we see each in her public role: Pat is the perfect diplomatic guest, being treated to a whirlwind tour of the city and "loving every minute of it". The shrill, corrosive Chang Ch’ing interrupts the ballet to shout angry orders at the dancers and sing her credo of power and violence, "I am the Wife of Mao Tse-tung". But in the final act, the focus of both text and music is their vulnerability, their desperate desire to roll back time to when life was simpler and feelings less compromised. Indeed, all five of the principals are virtually paralyzed by their innermost thoughts during this act. In the loneliness and solitude of his or her own bed, no one can avoid the feeling of regret, of time irretrievably lost and opportunities missed. It falls to Chou En-lai, the only one with a modicum of self-knowledge, to ask the final question: "How much of what we did was good?" composer notes from www.earbox.com

Dirigent? Orchester? Jahr?

The description captures my sentiments of SS very well. Most of his piano solo works are mediocre at best. This one is certainly no exception. Something about the themes and how they are treated screams uncomfortable and bland to me. That being said, I find his works for strings and orchestra far more enjoyable.

What is 2/6 on score

Beautiful pieces! I didn't know these till now. Have to buy the score in order to study them.

Haha I've never seen such a pessimistic intro to a score video Upon listening I have to say that it's umbased too. These are quite pleasant pieces and have more substance than many later works from Saint Saens