Steve Reich – Music for Mallet Instruments (1973) & more

 

In contrast to the other composers, we have occupied ourselves with so far, Steve Reich does not primarily work with classical orchestras or symphonies but with (-what could eventually be understood as the complete opposite-) rather minimal units. Like Pierre Schaeffer, Reich uses sampling and loop techniques in an analogue fashion. He essentially builds on the experimental strategies of the avantgarde by using tape machines and various electronic devices to create sounds that have never been heard before.

As he writes in Music as a Gradual Process (1968) he regards music as a “gradual process”, by which he refers to the idea of an infinite progression and process that is subject to constant development. Consequently, he does not believe that it is the composer’s duty to deliver a finished piece but rather an impulse and input that is then left to evolve on its own, guided by the systems and frames set by the composer. Reich attempts to make this process (and progress) audible.

With his 1973-piece Music for Mallet Instruments, Reich successfully realizes that idea. The piece is built upon a slow evolving repetitive layer of womans´ vocals, an organ, and different mallet instruments. While the mallet instruments are playing a continuous pattern, the vowels performed by the woman as well as the sound of the organ introduce deviations and progression. Nonetheless, the pieces repetitive keynote appears calming in its consistency as it creates a save sound space to linger in. The added rhythmic units as well as the alternation in tone is mostly accompanied by smooth transitions that do not interrupt or irritate the hypnotic, almost dream like listening experience. The precision of the musicians appears to be almost machine like, and their performance lacks any hecticness, sudden turmoil, or impetuous improvisation. Therefore, it does remind of contemporary electronic acts.

Another remarkable aspect of Reich´s work certainly is the fact, that it is still used as a subject of reference in various contemporary productions, especially numerous remixes of his pieces, one of them being a relatively recent remix of David Bowie´s single Love is Lost as featured on his 2013 album The Next Day. The song´s remix (called Hello Steve Reich Mix for the DFA) by James Murphy (founding member and singer of LCD Soundsystem) comprises an interpretation of Reich´s piece Clapping Music, as well as a sample of the characteristic melody of Bowie´s Ashes to Ashes, originally released in 1980. Reich´s original piece Clapping Music from 1972 is essentially minimalist and consists entirely of clapping. Therefore, no instruments (except for the human body of the two performers it is written for) are needed. The piece does not only work as a perfect example for Reich´s lasting effect but represents an interesting relation to John Cage´s 4´33, in respect to the underlying idea of focusing on what is vastly associated with an audience´s reaction. Furthermore, Clapping Music serves as an example for the `out of sync’ character that many of Reich´s pieces exhibit. However, the piece does not rely on the phasing technique applied by Reich within many of his earlier works but features two performers who essentially clap in the same basic rhythm. While one of them neatly sticks to the basic rhythm, the other one (who joins in later) continually shifts or skips certain notes. Thus, they are immediately out of sync until the second performer eventually settles in the first performer´s rhythmic pattern, so that they synchronize, and their clapping finally appears to be in unison.