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Truly, one of the most fascinating pieces ever written   November 2, 2000

This is not background music, nor is it intended to be hypnotizing. It should be listened to with concentration, to fully enjoy the richness of the harmonies, and to sort out the vertical layers of sound Reich so masterfully constructs with the simplest of materials. Reich wrote his music so that the music itself becomes a process of unfolding melodic and rhythmic patterns, and listening to this piece becomes a process of discovering them. You would never believe that listening to almost 68 minutes of "repeated notes" could be so fascinating.


Landmark work!   October 16, 2000
  3 out of 4 found this review helpful

Having heard the arguments of both the pro-Reich and anti-Reich camps, I figured it was time to explore things for myself. Admittedly, the first time I heard this piece several years ago, it absolutely turned my stomach. I found it to be an assault on everything I had ever considered music to be. A friend kept insisting that I listen to it, he said "You have to listen to it all the way through, and it helps if its raining outside." I thought those were odd instructions for listening, but I tried it the next time it rained. For some reason, the water coming down naturally helped bring out the shimmering, water quality of this music. (I got an added bonus in that it was raining but still sunny the first time I listened all the way through.)

Now, I don't need it to rain to listen to it. I'm not saying that this is an easy piece to listen to, but it grows on you. The subtle shifts become magical over time and you see how sometimes minimalism is really maximizing. Reich is able to take a limited palatte of colors and work a vivid and varied rainbow of sound. I was most amazed to find there were no electronics, samples, etc in the piece. I thought for sure this was an electro-acoustic work. When I found out that it was all performed live with no tape, that's when I became more impressed.

The voice parts must be incredibly difficult. Granted this music is not for everyone, and its not even my favorite of all time (not even close), but for those out there that want to try something different, and are willing to experiment with an academic form of music, this is THE place to start. Another good thing about it is, that unlike a lot of contemporary music, this isn't a bunch of dissonant noise. Cello, violin, clarinets, pianos, sopranos and a myriad of mallet instruments make for an interesting combination.

This is highly recommended to the classical music lover that wants to step into minimalism or is an accessible point of entry into classical music for fans of more popular/alternative forms of rock music. It takes some patience to get used to, but it can be really good.


Good recording, but not as balanced as the original ECM one.   August 26, 2000
  5 out of 5 found this review helpful

If I had to cite one piece of music that stood out as monumental landmark in the music somewhat problematically known as "minimalism", then Reich's 'Music for 18 Musicians' would be it. A beautiful, lush, shimmering piece which sounds as fresh now as it did when it was written about 25 years ago. The experience of listening to this piece never seems to diminish, even with frequent listenings.

That said, the Nonesuch recording overall isn't nearly as well-balanced as the original ECM one. The all-important bass clarinets have been mixed lower. The Nonesuch recording also introduces index points for easy access to sections of the pieces, but the only way to really experience this piece is from start to finish, without a break.

In short, I would recommend the ECM recording over this one for overall sound. (It also has a beautifully apt cover design, featuring artwork by Reich's wife, Beryl Korot).


Harmonic Motion   August 21, 2000
  7 out of 9 found this review helpful

Rarely, does a person have the privelege of listening to a piece in its nascent stage of introduction which then becomes a landmark in musical history. This is such a piece. Steve Reich brings together the austerity of minimalism with carefully orchestrated harmony. I enjoy this music. For me, it creates a world of its own Some may call it trance-like or meditative. Within the firm foundation of repetitive rhythms there are playful melodies. Each instrument appears to have its own dance. Steve Reich credits Ella Fitzgerald for the scat-style singing, and Perotin for the elongation of the opening chordal cycle. Yet, there is nothing derivative about this music. It does demonstrate a range of influences and the breadth of its appeal. If you are interested to listen to Minimalism of the late 20th century, or enjoy unique music which is written by a great living composer, this CD will be interesting to you.


Compelling, Hypnotic, Stirring   June 21, 2000
  4 out of 6 found this review helpful

When you mention minimalist music, a lot of people close their minds, anticipating dull, repetitive, emotionless sounds (read: Phillip Glass). That is not the case with this piece, nor with any other Reich composition that I've heard. I was exposed to "Music for 18 Musicians" for the first time several years ago, when I was in college, and my attitude toward minimalism was forever changed. You can listen to this in a couple of ways: just sit and let it wash over you, or focus on the rhythms, the continual building of phrases, the patterns, the layers of patterns, and the greater patterns created by the layers. It is an astonishing work, and I was privileged enough to see it performed live a few nights ago, by Reich and his colleagues. The musicians frequently move around the stage, taking over for each other, I assume to avoid exhaustion, but it becomes an astonishing dance and display of teamwork. They received a standing ovation and three curtain calls. My mother loved it, and she's 79! If your mind is open to new things, and you appreciate the emotional impact of music, listen to this.