Steve Reich schreef Electric Counterpoint in 1987 voor gitaar en tape, door de gitarist zelf op te nemen. Jonny Greenwood, gitarist van de Engelse rockband Radiohead, stortte zich op dit stuk, studeerde het in en voerde het veel uit. In 2010 hoorde Reich zijn uitvoering en was erg onder de indruk. Hij ging naar muziek van Radiohead luisteren en liet zich inspireren voor een nieuw werk, Radio Rewrite. Op subtiele wijze gebruikt hij harmonieën en kleine fragmenten uit twee nummers van de band in dit vijfdelige stuk voor klassieke instrumenten, uitgevoerd door ensemble Alarm Will Sound. Naast dit werk is ook Electric Counterpoint, gespeeld door Jonny Greenwood en Piano Counterpoint met pianiste Vicky Chow opgenomen. Een mooi geheel. Reich toont opnieuw dat hij zij eigen stijl trouw blijft, maar openstaat voor nieuwe invloeden.
Reich: Radio Rewrite
Electric Counterpoint (1987)
Jonny Greenwood, guitar
Piano Counterpoint (1973, arr. 2011)
Arrangement of Six Pianos for piano and tape by Vincent Corver
Vicky Chow, piano
Radio Rewrite (2013)
Alarm Will Sound
Alan Pierson, conductor
‘[Radio Rewrite] is not so much a rewrite as a reimagining in Reich’s hyperreal style; instantly accessible, instantly enjoyable.’ – Observer
‘What gave pleasure was seeing how thoroughly the borrowed material turned into Reich. [Radio Rewrite] was a fine display of compositional mastery, which had nothing to do with remix culture, and everything to do with old-fashioned virtues of harmony and counterpoint.’ – Daily Telegraph
Nonesuch releases Pulitzer Prize–winning composer Steve Reich’s album Radio Rewrite. Co-commissioned for and recorded by Alarm Will Sound, the title piece references two songs by the band Radiohead. Alan Pierson conducts this premiere recording of Radio Rewrite, which was composed in 2012. The album also includes recordings of Electric Counterpoint (1987) and Piano Counterpoint, which is a 2011 transcription by Vincent Corver of Reich’s 1973 Six Pianos; the works are performed, respectively, by Radiohead’s guitarist, Jonny Greenwood, and pianist Vicky Chow, who is a member of the Bang on a Can All-Stars. Reich says of his new piece: “Over the years composers have used pre-existing music (folk or classical) as material for new pieces of their own. Radio Rewrite, along with Proverb (Perotin) and Finishing the Hat – Two Pianos (Sondheim), is my modest contribution to this genre.” He continues, “Now, in the early 21st century, we live in an age of remixes where musicians take audio samples of other music and remix them into audio of their own. Being a composer who works with musical notation I chose to reference two songs from the rock group Radiohead for an ensemble of musicians playing non-rock instruments: ‘Everything in Its Right Place’ and ‘Jigsaw Falling into Place’.”
Reich and Jonny Greenwood met in Krakow in 2010 during a festival of Reich’s music, where Greenwood gave a performance of Electric Counterpoint that its composer liked very much. [Greenwood has since performed it many more times, including during a London tribute to Nonesuch’s 50th anniversary at the Barbican.] Reich says, “When I returned home I made it a point to go online and listen to Radiohead’s music and the two songs mentioned above stuck in my head. It was not my intention to make anything like ‘variations’ on these songs, but rather to draw on their harmonies and sometimes melodic fragments and work them into my own piece. As to actually hearing the original songs, the truth is – sometimes you hear them and sometimes you don’t.”
Electric Counterpoint was commissioned by BAM for guitarist Pat Metheny. It is the third in a series of pieces (first Vermont Counterpoint in 1982 for flutist Ransom Wilson followed by New York Counterpoint in 1985 for clarinettist Richard Stolzman) with a soloist playing against a pre-recorded tape of themselves. In Electric Counterpoint the soloist pre-records as many as ten guitars and two electric bass parts and then plays the final eleventh guitar part live against the tape.
Reich says Piano Counterpoint “is an arrangement of Six Pianos in which four of the six piano parts are pre-recorded and the last two are combined into a more virtuosic single part played live. For these last two parts to be played by a single pianist it was necessary to move some of the melodic patterns up an octave giving the piece an increased sparkle and intensity. The amplification of the live player along with the pre-recorded playback adds additional electricity. Combined with the practicality of needing only a solo pianist, this arrangement can be heard as improving on the original.”
Steve Reich has been hailed as ‘America's greatest living composer’ (The Village Voice), ‘The most original musical thinker of our time’ (The New Yorker), and ‘Among the great composers of the century’ (New York Times). From his early taped speech pieces It's Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot's digital video opera Three Tales (2002), Reich's path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. ‘There's just a handful of living composers who can legitimately claim to have altered the direction of musical history, and Steve Reich is one of them’, states the Guardian.
