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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t steve reich
a l b u m octet - music for a large ensemble - violin phase
l a b e l n/a
g e n r e classical
r i p d a t e 06.25.2003
s t r e e t d a t e 1994
o r i g i n a l r e l 1980
s u p p l i e r hoho
s o u r c e cd
b i t r a t e 192 kbps, JS
e n c o d e r lame 3.92
r e l e a s e n o t e s
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. ù Brian Olewnick
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
music for a large ensemble (12/78) 15:38
violin phase (10/67) 15:19
octet (4/79) 17:29
48:26
MB 66,5
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
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