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Review Summary: The girl still sings. “different trains every time” Steve Reich came up with the concept of his 1988 piece Different Trains while pondering on his train journeys made during the war years. He visited his seperated parents via train from New York to Los Angeles, but, being a Jewish man, if he was in Europe, he could have easily been on very different trains.

Mar 30, 2012 - 1-Music For 18 Musicians (Steve Reich - 1976). 14-Different Trains/Electric Counterpoint (Steve Reich/Kronos Quartet/Pat Metheny - 1989).

Wars of any kind have always been a problematic subject to deal with artistically, so Reich couldn't just put an unexceptional amount of effort into this work and create a subpar musical momento to these events. “one of the fastest trains” Reich's earlier works until Different Trains had consisted of tape loops and phasing techniques, but for Different Trains, Reich truly innovated: he interviewed Holocaust survivors and used their voices and answers as the basis for his string melodies. Often musical stunts like this seem gimmicky and contrived, but Reich used it to make something truly harrowing. “from Chicago to New York” The first section of the piece, entitled “America-Before the War,” starts off with the chugging of a train and an intense rhythm played by the strings.

A high-pitched train whistle then enters, and not only does it not distract from the music, but complements it. From the beginning, you know what it is like to have the musical ear of Steve Reich: to hear the hidden melodies of industrial life, to hear the rhythms of everyday conversations, to hear life itself as a beautiful symphony. Immediately the genius of the section reveals itself: the chugging intensity perfectly describes the hustle and bustle of prewar life, as the streets filled with the tension of a country on edge economically. Once the melody of the interviewees' voices appear, the genius of Reich is only magnified. The melodies built from the voices are not at all cumbersome or awkward, but fit as a perfect musical background to their answers. Though Reich only samples a small part of the answers the survivors gave, you somehow get the feeling that you've known these people a long time. “the Germans walked in” Section two, called “Europe-During the War,” introduces both a new set of interviewed survivors and their stories, but also a new atmosphere: the music is absolutely chilling, using dissonance to illustrate the utterly frightening stories of the interviewees.

The chugging of trains is replaced with the screeching of war sirens and various industrial noises. The calm musical atmosphere is completely turned on its head, just as it was when World War II started. “and he said: 'Don't breathe.' ” As the survivors go through various accounts of how the war affected their lives, the strings somehow form around them, pulsing and vibrating, while the voices' melodies play out. You feel as if the real scariness is not in the unsettling string arrangements, but in the stories the various survivors tell. Ethiopian history in amharic pdf bible lessons. The interviewees are commanding the music; the strings are just following their lead. “flames going up in the sky – it was smoking” As the second section comes to an end, the strings suddenly come to an eerie halt as one survivor recalls the flames of a Holocaust camp.

Only the alarms and ambient noises are left, backed up by the melody of her voice. Reich creates a truly musical chilling moment out of near-silence. “and the war was over” Section three, titled “After the War,” should, by all accounts, be simply optimistic, but it isn't as simple as that. The music returns to the chugging strings of the first section while vocal melodies that tell stories of going to America are delivered. The end of the war was about finally getting back on track rather than celebrating. It was only hoped that the tracks that they would get back on would be the tracks of very different trains.

“going to America” In a completely literal sense, Electric Counterpoint, the second piece featured on this record, is an utterly unrelated piece to Different Trains. Emotionally, however, they feel like they should always be together. In some ways, for Reich, Electric Counterpoint is a step back from Different Trains. While on Different Trains, Reich experimented and came out with a huge success, on Electric Counterpoint, he reverts to his old methods and makes a piece based on pulses and phasing, not unlike Music for 18 Musicians. However, he completely perfects both methods on Electric Counterpoint, making a piece both emotionally powerful and extremely listenable. “from New York to Los Angeles” Like the first section of Different Trains, section one of Electric Counterpoint, simply entitled “Fast,” starts off with a bang, simply chugging and pulsing. However, while “America-Before The War” used strings and alternating notes, this section simply uses pulsing guitar chords.