When a climate apocalypse one day destroys human civilization, at least alien archaeologists will be able to become acquainted with Groucho Marx.
Pioneering composers Steve Reich and Philip Glass appeared onstage together for the first time in nearly 40 years in a series of 3 concerts earlier this month at the Brooklyn Academy of Music
As summertime slowly approaches, concerts of music both minimal and maximal will enchant Manhattanites in search of aural Yiddishkeit. On April 29 at the Walter Reade Theater, flutist Claire Chase will perform Steve Reich’s “Vermont Counterpoint” in its version for flute and tape; the alternate version, for eleven flutes, would doubtless exceed even the gifted Chase’s capacities. She will be joined for other, less minimalist, works on the program by the pianist Jacob Greenberg. On May 1 at Carnegie Hall, Reich’s mini-fluting is exchanged for emotional maxing-out in the form of Gustav Mahler’s songs interpreted by baritone Matthias Goerne with the superstar pianist Leif Ove Andsnes.
“[It] looks like something swiped from Rudy Giuliani’s presidential campaign press shop circa January 2008,” Seth Colter Walls wrote in a July 21 piece for Slate about the cover for Minimalist composer Steve Reich’s “WTC 9/11.”
After listening to and viewing a rehearsal for the New York Philharmonic Orchestra’s presentation of “In Seven Days,” the 2008 concerto for piano and moving image by Thomas Adès and Tal Rosner being performed January 7 and 8 at Avery Fisher Hall, I was ready to become a creationist.
“Ehmor m’aht, v’ahsay harbay — Say little and do much,” the fourth movement from composer Steve Reich’s “You Are (Variations)” 2004 ensemble piece is a pithy explanation of the style that first brought him attention, Grammy Awards in 1990 and 1999, and, this week, the 2009 Pulitzer prize for music.