Steve Reich’s developed style in “It’s gonna rain” Part I (1965)

 

When I first listened to Reich’s composition, I found the sounds disturbing and irritating. A few minutes later, I felt the rhythm of the phrase “It’s gonna rain” and the vibes going along with it. The ellipse “only rain” co-occurred with “It’s gonna rain” which again led to a hectic and nervous ambiance. I was impressed by in how many ways one phrase can be put into sounds. The echoing made the listening experience more intense. I think that this song is best listened to when not sitting in a room in front of your laptop like I did, but rather stand on your feet and act it out. Sitting only lessens the energy which the song carries along. Instead, you should be able to move to the sounds so that you get more access to it. After a while “only rains” gets shortened to “rain” and “It’s gonna rain” can be only heard in the background. Yet, the sounds switch again “It’s gonna rain” becoming more dominant. I also noticed a pause between “It’s gonna” and “rain” emphasizing what is going to happen. The last phrase of the eight minute composition dramatizes the circumstances: “It’s gonna rain after all.”

Reich’s style in this minimalist composition is expressed by the intense voice, the background noises and the two recordings felling out of sync. Consequently, one tape falls ahead or behind the other. Meanwhile Reich admitted that the phase shifting happened accidentally, I thought it was on purpose since its effect strengthens the phrase “It’s gonna rain”. This phrase signifies the first part while sections of it represent the second part. Reich recorded the voice of a preacher expressing the story of Noah, the end of the world. When manipulating the recording Reich introduced a new way of composing. Later, he applied the style on live musicians which led to his tape pieces becoming source material for minimalism.

Actually, I figured that the phrase “It’s gonna rain” does not refer to the weather. Still, I did not interpret it as signifying the end of the world. Taking the circumstances into consideration, a preacher citing and in a way singing those words, the reference to Noah seems reasonable. Yet, it seems impossible to me linking the composition to the Cuban missile crisis in 1962. After some research on the historical background, I experienced the song in a different way. The pulsating, canon-like tape announces a happening. The tapes, spliced together and then again separated, aggressively express emotions.

All in all, I find Reich’s composition impressing, it makes me feel something and I like the changing rhythm and (background) sounds. Nevertheless, the message remains too abstract to me.