Top 13 Quotes & Sayings by Steve Reich

Explore popular quotes and sayings by an American composer Steve Reich.
Last updated on September 17, 2024.
Steve Reich

Stephen Michael Reich is an American composer known for his contribution to the development of minimal music in the mid to late 1960s. Reich's work is marked by its use of repetitive figures, slow harmonic rhythm, and canons. His compositional style reflects his explicit rejection of Western classical traditions, serialism, and indeterminacy, because, unlike these traditions, he sought to create music in which the compositional process was discernible in the music itself. Reich describes this concept in his essay, "Music as a Gradual Process", by stating, "I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music." To do so, his music employs the technique of phase shifting, in which a phrase is slightly altered over time, in a flow that is clearly perceptible to the listener. His innovations include using tape loops to create phasing patterns, as on the early compositions It's Gonna Rain (1965) and Come Out (1966), and the use of simple, audible processes, as on Pendulum Music (1968) and Four Organs (1970). The 1978 recording Music for 18 Musicians would help entrench minimalism as a movement. Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably Different Trains (1988).

In serial music, the series itself is seldom audible... What I'm interested in is a compositional process and a sounding music that are one in the same thing.
I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with other.
All music does come from a time and place. I was born and raised in New York. I moved out of New York, but it's inside of me and it will be inside of me until they put me in a box in the ground.
I write music, and I want people to listen to it and care about it and have it make some difference in their lives. When I'm fortunate for that to happen, then of course I feel very, very good about it.
Up to the age of 14 I had not heard a note of anything before 1750, never heard a note of Bach, never heard anything after Wagner, and never heard any real jazz. — © Steve Reich
Up to the age of 14 I had not heard a note of anything before 1750, never heard a note of Bach, never heard anything after Wagner, and never heard any real jazz.
What I don't want to do is to go and buy a bunch of exotic-looking drums and set up an Afrikanische Musik in New York City.
As a matter of fact, I personally would much rather hear Perotin than Mozart.
I'm not making any absurd comparisons between myself and Bach, but I aspire to that, that my music will have the legs to survive whatever context it finds itself in.
All great music is contemporary. If it's still alive and kicking, then it's contemporary. If it fades away, it was a period piece. It had its moment, and that was it.
It's very important for any artist, in any field, to take their own temperature and check out their own energy, and see what it is they ought to be doing to keep the energy up. Because if your energy is not up, you're going to come up with some really dreary piece of work that no one's going to enjoy.
I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.
I've learned over the years that geography is not that important, except that I seem to work better in the country than the city. I get more done. There's just less happening around me, and I have more time and concentration to work on music.
In the pop world, instead of saying I want to get an album by such and such a group, it's I like this particular tune and that one I like less. I think it's much better to get involved with an artist instead of riding up and down the works you like and disregard the works you don't like.
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