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STEVE REICH: Radio Rewrite (Nonesuch Records, 2014)

U posve nekonvencionalnom poduhvatu, Steve Reich je angažirao 3 umjetnika da izvedu njegove notne zapise pripremljene za London Sinfoniettu, gudački orkestar pokrenut još 1968. koji je nekad radio i s John Cageom. Djelo je nastajalo postepeno godinama, a dovršeno je tek 2012. i komisiono s London Sinfoniettom premjerno izvedeno 5.III 2013. u londonskom Royal Albert Hallu, no Reichu je sinula jedna druga zamisao da na nosač zvuka utisne sasvim drugačiji performans.

Iznenađenje ili ne, čitav ovaj rad je inspiriran s dvije pjesme Radiohead - "Jigsaw falling into place" (album "In Rainbows", 2007) i "Everything in its right place" ("Kid A", 2000), a Reich ih je preradio u instrumentale, dao im nove aranžmane i nova značenja. Kako je radeći sa spomenutim gudačkim orkestrom 2011. surađivao i s vrlo sličnim njujorškim mješovitim ansamblom Alarm Will Sound (oni i Reich djeluju pod istom etiketom Nonesuch Records), njihovom dirigentu i klavijaturisti Alanu Piersonu ponudio je partiture prerađenih kompozicija Radiohead. Još ranije su Alarm Will Sound napravili dva albuma s obradama Reicha "Steve Reich Tehillim/ The Desert Music" (2002) i "Steve Reich Music for Large Ensemble" (2001), pa im ova ponuda i nije došla kao neobičan ili težak zadatak. Njihova uloga je ovdje najšira u 5 paralelno povezanih tema satkanim praktički od cijelog orkestra (piano, gudači, duhači, ksilofon) s promjenjivim intenzitetima tempova u dvije varijacije osnovne teme "Radio rewrite" - "Fast" i "Slow" koje se kroz stavke neprekidno nižu 20 minuta.

Središnji dio albuma pripao je pijanistici Vicky Chow u gotovo 14 minuta dugačkoj minimalističkoj "Piano counterpoint" odsviranoj s nekoliko pari ruku, a uvodni, ništa kraći samom Johnny Greenwoodu, gitaristi Radiohead koji je pokazao izvrsnost staccato interpretacije nasnimivši 5-6 paralelnih gitarskih 'math' dionica pojačanih klasičnim Reichovim vibrato tretmanima s korištenjem bas gitare u trećem, rockerskom stavku "Electric counterpoint: III.Fast".

Ovo svakako nije teren standardnog indie-rocka ili brit-popa odakle je crpljeno ležište jezgre kompozicija već suptilan Reichov minimalistički kontigent brda repeticija s melodičnim i harmonično brižljivim partiturama koje su vrlo zahtjevne za izvedbu u kojoj konciznost i brzina rada ruku naglašava konfiguraciju tema. Naoko se doima poput programiranog elektronskog obrasca s loop tehnikom i copy/paste sistemom, no dakako da je to samo privid. Prava ljepota njegovog tehnički složenog sistema nadogradnji otkriva se postepeno, ali naravno da svi oni koji znaju i razumiju ovakav stilski pasaž ne pate od neke monotonije ravnomjerno skladanih tonova s brdima staccata i repeticija.

Za fanove Reicha i minimalizma, a tek onda za Radiohead i inu indie publiku.

Naslovi: 1.JOHNNY GREENWOOD - Electric counterpoint: I.Fast, 2.JOHNNY GREENWOOD - Electric counterpoint: II.Slow, 3.JOHNNY GREENWOOD - Electric counterpoint: III.Fast, 4.VICKY CHOW - Piano counterpoint, 5.ALARM WILL SOUND, ALAN PIERSON - Radio rewrite: I.Fast, 6.ALARM WILL SOUND, ALAN PIERSON - Radio rewrite: II.Slow, 7.ALARM WILL SOUND, ALAN PIERSON - Radio rewrite: III.Fast, 8.ALARM WILL SOUND, ALAN PIERSON - Radio rewrite: IV.Slow, 9.ALARM WILL SOUND, ALAN PIERSON - Radio rewrite: V.Slow

ocjena albuma [1-10]: 8

horvi // 21/01/2015

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> chek us aut!
> diskografija
cover: Radio Rewrite
  • Soundtrack for The Plastic Haircut, tape (1963)
  • It's Gonna Rain, tape (1965)
  • Soundtrack for Oh Dem Watermelons, tape (1965)
  • Come Out, tape (1966)
  • Melodica, melodica and tape (1966)
  • Piano Phase for two pianos, or two marimbas (1967)
  • Slow Motion Sound concept piece (1967)
  • Violin Phase for violin and tape or four violins (1967)
  • My Name Is for three tape recorders and performers (1967)
  • Pendulum Music for 3 or 4 microphones, amplifiers and loudspeakers (1968) (revised 1973)
  • Four Organs for four electric organs and maracas (1970)
  • Phase Patterns for four electric organs (1970)
  • Drumming for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, female voices, whistling and piccolo (1970/1971)
  • Clapping Music for two musicians clapping (1972)
  • Music for Pieces of Wood for five pairs of tuned claves (1973)
  • Six Pianos (1973) - transcribed as Six Marimbas (1986)
  • Music for Mallet Instruments, Voices and Organ (1973)
  • Music for 18 Musicians (1974-76)
  • Music for a Large Ensemble (1978)
  • Octet (1979) - withdrawn in favor of the 1983 revision for slightly larger ensemble, Eight Lines
  • Variations for Winds, Strings and Keyboards for orchestra (1979)
  • Tehillim for voices and ensemble (1981)
  • Vermont Counterpoint for amplified flute and tape (1982)
  • The Desert Music for chorus and orchestra or voices and ensemble (1984, text by William Carlos Williams)
  • Sextet for percussion and keyboards (1984)
  • New York Counterpoint for amplified clarinet and tape, or 11 clarinets and bass clarinet (1985)
  • Three Movements for orchestra (1986)
  • Electric Counterpoint for electric guitar or amplified acoustic guitar and tape (1987, for Pat Metheny)
  • The Four Sections for orchestra (1987)
  • Different Trains for string quartet and tape (1988)
  • The Cave for four voices, ensemble and video (1993, with Beryl Korot)
  • Duet for two violins and string ensemble (1993)
  • Nagoya Marimbas for two marimbas (1994)
  • City Life for amplified ensemble (1995)
  • Proverb for voices and ensemble (1995, text by Ludwig Wittgenstein)
  • Triple Quartet for amplified string quartet (with prerecorded tape), or
  • three string quartets, or string orchestra (1998)
  • Know What Is Above You for four women's voices and 2 tamborims (1999)
  • Three Tales for video projection, five voices and ensemble (1998-2002, with Beryl Korot)
  • Dance Patterns for 2 xylophones, 2 vibraphones and 2 pianos (2002)
  • Cello Counterpoint for amplified cello and multichannel tape (2003)
  • You Are (Variations) for voices and ensemble (2004)
  • For Strings (with Winds and Brass) for orchestra (1987/2004)
  • Variations for Vibes, Pianos, and Strings dance piece for three string quartets, four vibraphones, and two pianos (2005)
  • Daniel Variations for four voices and ensemble (2006 - 2008)
  • Double Sextet for violin, cello, piano, vibraphone, clarinet, flute and pre-recorded tape (2007)
  • 2x5 for 2 drum sets, 2 pianos, 4 electric guitars and 2 bass guitars (2008)
  • Mallet Quartet for 2 marimbas and 2 vibraphones or 4 marimbas (or solo percussion and tape) (2009)
  • WTC 9/11 for String Quartet and Tape (2010)
  • Finishing the Hat for two pianos (2011)
  • Quartet for two vibraphones and two pianos (2013)
  • Radio Rewrite (2014)

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