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Beautiful recording...   June 9, 2004

An Academic Approach To 18   December 12, 2001

The new Nonesuch recording was designed from the ground up to be a recording, not a live performance. Most instruments are close-mic'd, which gives the odd feeling of standing next to all of the instruments at the same time. I love it for its open spaces, surprising tempo, and stunning imaging of the mallet instruments. It is as lush and beautiful as the ECM recording, but I prefer the subtleties and pacing of the ECM more.


A worthy alternate to Reich's own recordings   July 29, 2000
  6 out of 6 found this review helpful

It's generally true that different versions of a piece of music emphasize different aspects, but perhaps more true of Steve Reich's landmark 'Music for 18 Musicians' because it's so densely layered. The Ensemble Modern recording has more of a live feel than either of Reich's own, with the marimbas, xylophones and winds mixed more up front compared to the pianos and voices. Both of the Reich recordings seem to mix all instruments with equal emphasis, creating a monolithic ensemble sound. Ensemble Modern is sloppier than Steve Reich and Musicians, with very occasionally a ragged tempo or a note off key. In the main, though, the playing is very solid. Some of the rhythms have a cooking, almost-pop feel. Altogether I'd rank the this rendition up there with Steve's original ECM recording, putting his recent Nonesuch version third.


Ensemble Modern offers a fine reading of "18"   April 23, 1999
  12 out of 12 found this review helpful

Germany's Ensemble Modern does a fine job on this new recording of "Music for 18 Musicians," the first such recording of this piece by an ensemble not directly connected with the composer (although two percussionists from Reich's Musicians do sit in, and Reich was present during the sessions). But for the most part it is interesting to hear what this piece sounds like but performers other than the Reich circle. However, there are only a few flaws in this recording: 1) While some sections are well structured, there were others that did not get enough attention, such as Section IIIa (one of my favorite sections of the piece), which was way too pitifully short; 2) Occasionally some of the female voices therein sounded strained, especially in the high register. On the other hand, the structures to other sections were well defined and the metalophone cut through very well to signal the ensemble to the next module. While the original 1978 recording may still be the winner and champion, this recording makes a fine addition on its own to the "18" lore. My ideal (almost Utopian) recording? To have some of my favorite sections (such as the aforementioned IIIa and b, plus Sections V-VIII (those of you scoring at home will know what I am talking about)) go on for a very long time (hey, I can take it!), and, through the miracle of overdubbing, Joan La Barbara cover all the vocal parts.