lso5073 

Wydawnictwo: LSO Live
Nr katalogowy: LSO 5073
Nośnik: 1 SACD
Data wydania: czerwiec 2016
EAN: 822231507321
Dostępność: w magazynie

47,00 zł
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Epoka muzyczna: współczesna
Obszar (język): Ameryka Łacińska
Instrumenty: instr. perkusyjne


SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Zobacz także:

  • CHSA 5091
  • BISSACD 2089
  • OC 677
  • BISSACD 2037
  • OC 672
  • BISSACD 1505

Reich: Clapping Music & Other Works

LSO Live - LSO 5073
Kompozytor
Steve Reich
Wykonawcy
LSO Percussion Ensemble
Nagrody i rekomendacje
 
Diapason 5 Presto Discs of the Year SA-CD.net 5 Stars
 
Clapping music
Music for pieces of wood
Sextet
All three pieces presented on this disc find their roots in ideas explored in Steve Reich’s earliest acknowledged work, It’s Gonna Rain, a 17-minute composition for magnetic tape composed in 1965. In this seminal work Reich discovered the techniques that became the kernel for his entire body of work to the present day, and some of the defining features of the minimalist aesthetic repetition, pulse, a pre-occupation with speaking patterns, and variation by a process known as ‘phasing’. Phasing one of the most distinctive features of Reich’s compositional language is conceptually relatively simple to describe, but can create a vast range of musical patterns from consonant rhythmic unison, to intricate, complex counterpoint. In its most basic form, phasing consists of two identical looping patterns, one of which remains fixed whilst the other gradually shifts out of unison, allowing a single pattern to be heard superimposed against itself in all possible permutations. The technique is perceived by the listener as a gradual process, transforming from a subtle echo to a complex canonic effect. The process finishes when the shifting pattern and the fixed pattern sound in unison again after one complete cycle. In It’s Gonna Rain, a fixed tape work, the phasing process was achieved electronically through the manipulation of two identical tape loops. It soon became a pre-occupation of Reich’s to see if this inherently mechanistic procedure could be achieved in live performance by musicians. The technique was first scored for live performance in Reich’s Piano Phase (1967) and then further refined in the works Phase Patterns (1970) and Clapping Music (1972).