Steve Reich - Music For 18 Musicians - ECM Records - ECM 1-1129 - 1st Press 1978

$

34

Thank you for your consideration of my auction offering!!                             (Note: I am single owner of this LP)

Label/Catalog Number:       ECM Records      ECM 1-1129

Condition:
Media:  NM  High gloss & no visible flaws, except very surface mark that has no effect on the audio experience (see last photo). Labels in
              perfect shape.   (see photos)  
Sleeve: NM There is no cover wear, seam splits, stains. In original shrink wrap. Like just brought home from the record
               shop.  (see photos)
Matrix:  S1- ECM-1-1129A #3 [tulip symbol] 33678 MO#3 and S2- ECM-1-1129B MO#3 [tulip symbol] 33678 JO
                                         
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Tracklist
A     Pulse - Sections I - IV       26:55
B     Sections V - XI - Pulse     32:00

Companies, etc.
    Licensed From – Polydor International Gmbh
    Phonographic Copyright (p) – ECM Records GmbH
    Copyright (c) – ECM Records GmbH
    Copyright (c) – Steve Reich
    Manufactured By – Warner Bros. Records Inc.
    Distributed By – Warner Bros. Records Inc.
    Published By – Reich Music Publications
    Pressed By – Wakefield Manufacturing – 33678

Credits
    Cello – Ken Ishii (2)
    Clarinet, Bass Clarinet – Richard Cohen, Virgil Blackwell
    Composed By – Steve Reich
    Cover [Cover Drawing] – Beryl Korot
    Design – Paula Bisacca
    Engineer [Recording] – Klaus Hiemann
    Marimba, Maracas – Gary Schall
    Marimba, Xylophone – Bob Becker, Glen Velez, Russ Hartenberger
    Marimba, Xylophone, Piano – David Van Tieghem
    Mastered By – JB*
    Metallophone, Piano – James Preiss
    Mixed By – Rudolph Werner*, Klaus Hiemann, Steve Reich
    Performer – Steve Reich And Musicians
    Photography By [Backliner Photos] – Bernard Perrine, Betty Freeman, Guido Harari, Mary Lucier, Patrick Bertrand, Roberto Masotti
    Piano – Nurit Tilles, Steve Chambers
    Piano, Maracas – Larry Karush
    Piano, Marimba – Steve Reich
    Producer – Rudolph Werner*
    Recording Supervisor [Production and Recording Supervision] – Rudolph Werner*
    Sleeve Notes – Steve Reich
    Violin – Shem Guibbory
    Voice – Elizabeth Arnold, Pamela Fraley, Rebecca Armstrong
    Voice, Piano – Jay Clayton

Notes
The World Premiere of "Music for 18 Musicians" was presented at Town Hall in New York in April 1976 and the European Premiere was presented at the Metamusik Festival in Berlin in October of the same year.
Cover Drawing: "Weaver's Notation", Beryl Korot (1976)
© ? 1978 ECM Records GmbH
Manufactured under license from Polydor International GmbH
© 1978 Steve Reich

Manufactured and distributed by Warner Bros. Records Inc. a Warner Communications Company
Printed in U.S.A
This is the green label stock copy.

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Album Review by Tyran Grillo  February 12, 2010:
Music for 18 Musicians makes no efforts to obscure the methods behind its construction. As such, it reveals a wealth of mysteries never notated on the printed page. The piece is scored for violin, cello, 2 clarinets doubling bass clarinet, 4 women’s voices, 4 pianos, 3 marimbas, 2 xylophones and metallophone (vibraphone with no motor). With his characteristic attention to detail, Reich utilizes these instruments not necessarily for their evocativeness, but for the unique and varied ways in which their timbres can be blended in a nearly hour-long wash of sound. Calling this “minimalism” would be unfair both to Reich and to the musicians among whom he makes this demanding journey. There is a sense of movement here that is both linear and multidirectional. I say this not for the sake of verbosity, but because Reich’s notecraft commits to its own agenda while latching on to so many others along the way.

The piece begins with a seamless blend of piano and mallet instruments threading its full length like a living metronome. Joining this is a chorus of breaths from human voices and winds. The interweaving of these substantial strands reinforces the compositional density, like marrow and nerves cohering into a spinal c(h)ord of decidedly aural design. At the risk of belaboring this analogy, I venture to see this piece as one active body in which each instrument writes the genetic code of its musical biology. This dynamic is further heightened by the presence of vocal utterances. Although these function as egalitarian extensions of manufactured instruments, they lend fragility to the underlying spirit of the music at hand. These voices rise and fall, slowly replaced by clarinets as if one and the same.

Sudden changes in rhythm serve to reconfigure our attention to the intervention of the composer’s hand: just as we are being lulled into a sense of perpetuity, akin to a natural cycle studied from afar, we are reminded that what we are listening to has been contrived at the whim of a single human mind. Far from undermining the piece, this awareness invites us to share in its re-creation through the very act of listening. Like much of Reich’s music, Music for 18 Musicians is nothing if not accommodating. Rather than patronize or proselytize, it lays itself bare. This brackets Music for 18 Musicians off from much of the histrionic art music in vogue at the time of its creation (1974-76). One could argue that it is scientific in its approach to structure. I prefer to see it as simply honest.

The recording quality of this album is ideally suited to its subject matter. There is a sense of “clusteredness” throughout, so that the performers never stray too far from the nexus of their unity, while also providing just enough breathing room (the performers’ lung capacities determine the length of sonic pulses throughout) for individual elements to shine. Most of the mixing, as it were, is done live through the sheer skill of Reich’s assembly of dedicated musicians, and requires meticulous attentiveness on the part of the recording engineer to highlight that complex interplay without overpowering the core. A beautiful and compelling landmark achievement.
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