STEVE REICH Phases A N o nes u ch R etr o spective

D isc o N E D isc T w o D isc T hree

Music for 18 Musicians (1976) 67:42 (1988) 26:51 You Are (Variations) (2004) 27:00 1. Pulses 5:26 1. America—Before the war 8:59 1. You are wherever your thoughts are 13:14 2. Section I 3:58 2. Europe—During the war 7:31 2. Shiviti Hashem L’negdi (I place the Eternal before me) 4:15 3. Section II 5:13 3. After the war 10:21 3. Explanations come to an end somewhere 5:24 4. Section IIIA 3:55 4. Ehmor m’aht, v’ahsay harbay (Say little and do much) 4:04 5. Section IIIB 3:46 6. Section IV 6:37 David Harrington, Los Angeles Master Chorale 7. Section V 6:49 John Sherba, violin Grant Gershon, conductor 8. Section VI 4:54 Hank Dutt, Phoebe Alexander, Tania Batson, Claire Fedoruk, Rachelle Fox, 9. Section VII 4:19 Joan Jeanrenaud, Marie Hodgson, Emily Lin, sopranos 10. Section VIII 3:35 Sarona Farrell, Amy Fogerson, Alice Murray, Nancy Sulahian, 11. Section IX 5:24 (1981) 30:29 Kim Switzer, Tracy Van Fleet, altos 12. Section X 1:51 4. Part I: Fast 11:45 Pablo Corá, Shawn Kirchner, Joseph Golightly, Sean McDermott, 13. Section XI 5:44 5. Part II: Fast 5:54 Fletcher Sheridan, Kevin St. Clair, tenors 14. Pulses 6:11 6. Part III: Slow 6:19 Geri Ratella, Sara Weisz, flutes 7. Part IV: Fast 6:24 Joan Elardo, Joel Timm, oboes and Musicians James Faschia, Helen Goode-Castro, Larry Hughes, Rebecca Armstrong, Marion Beckenstein, Schönberg Ensemble with Percussion Group The Hague Gloria Cheng, Lisa Edwards, Brian Pezzone, Vicki Ray, Cheryl Bensman Rowe, sopranos Reinbert de Leeuw, conductor Wade Culbreath, Mike Englander, John Magnussen, Jay Clayton, alto, Tom Raney, marimbas, vibes Russell Hartenberger, Bob Becker, Tim Ferchen, Barbara Borden, Tannie Willemstijn, sopranos Tamara Hatwan, Ralph Morrison, Susan Reddish, violin 1 marimbas, xylophones Yvonne Benschop, Ananda Goud, mezzo-sopranos Samuel Fischer, Julie Rogers, Steve Scharf, violin 2 James Preiss, vibraphone, piano Darren McCann, Victoria Miskolcsky, Catherine Reddish, Garry Kvistad, marimba, xylophone, piano 8. (1979) 17:29 Delores Bing, Maurice Grants, Roger LeBow, Steve Reich, marimba, piano Oscar Hidalgo, bass Thad Wheeler, marimba, maracas Bang on a Can Nurit Tilles, Edmund Niemann, pianos Bradley Lubman, conductor (1985) 11:19 Philip Bush, piano, maracas Todd Reynolds, Gregor Kitzis, Jaqueline Carrasco, 5. Fast 5:03 Elizabeth Lim, violin Elizabeth Knowles, 6. Slow 2:44 Jeanne LeBlanc, cello Martha Mook, Ron Lawrence, violas 7. Fast 3:32 Leslie Scott, Evan Ziporyn, clarinets, bass clarinets Mark Stewart, Greg Passelink, cellos Patti Monson, David Fedele, flutes, piccolos Evan Ziporyn, clarinets Michael Lowenstern, Evan Ziporyn, clarinets, bass clarinets Edmund Niemann, Nurit Tilles, pianos D isc F ive 8. (2003) 11:36 with members of The Steve Reich Ensemble Russell Hartenberger, Bob Becker, vibraphones 1. Music for Mallet Instruments, Voices, Maya Beiser, cello Nurit Tilles, Edmund Niemann, electric organs and Organ (1973) 16:50

Electric Counterpoint (1987) 14:43 Paul Hillier, conductor Steve Reich and Musicians 9. Fast 6:51 Bob Becker, Tim Ferchen, Russell Hartenberger, 10. Slow 3:22 (1984) 48:04 Steve Reich, marimbas 11. Fast 4:30 Text by William Carlos Williams Garry Kvistad, Thad Wheeler, glockenspiels 3. First Movement (Fast) 7:54 James Preiss, vibraphone Pat Metheny, guitar 4. Second Movement (Moderate) 6:59 Nurit Tilles, electric organ 5. Third Movement, Part One (Slow) 7:00 Pamela Wood Ambush, Rebecca Armstrong, voices (long tones) (1999) 14:43 6. Third Movement, Part Two (Moderate) 5:54 Jay Clayton, voice (melodic patterns) 12. First Movement 7:10 7. Third Movement, Part Three (Slow) 5:55 13. Second Movement 4:05 8. Fourth Movement (Moderate) 3:35 (1971) 56:43 14. Third Movement 3:28 9. Fifth Movement (Fast) 10:48 2. Part I 17:30 3. Part II 18:11 Kronos Quartet Steve Reich and Musicians 4. Part III 11:13 David Harrington, violin with Members of the Philharmonic and Chorus 5. Part IV 9:50 John Sherba, violin Michael Tilson Thomas, conductor Hank Dutt, viola Steve Reich and Musicians Jennifer Culp, cello Principal Percussion: Bob Becker, Ben Harms, Russell Hartenberger, Garry Kvistad, Russell Hartenberger, Bob Becker, Glen Velez, Garry Kvistad James Preiss, Steve Reich, Gary Schall, Glen Velez, Thad Wheeler, tuned drums, marimbas, glockenspiels D isc F o u r Principal Strings: Pamela Wood Ambush, Jay Clayton, voices Julie Rosenfeld, concertmistress Steve Reich, whistling 1. (1966) 12:48 Deborah Redding, second violin Mort Silver, piccolo Francesca Martin, viola 2. (1995) 14:04 Sharon Prater, cello Donald Palma, bass Theatre of Voices Andrea Fullington, Sonja Rasmussen, Allison Zelles, sopranos Choral Contractor: Alan Bennett, Paul Elliott, tenors Cheryl Bensman, soprano

The greatness of Steve Reich is a given. His reputation as a prime his childhood riding trains back and forth to Los Angeles, where gonna-onna rai-ain! It’s-it’s gonna-gonna rain-rain!” Listening on originator in contemporary music is more or less etched in stone. his mother, a successful singer and lyricist, had moved. He later stereo headphones, with one ear tuned to the left machine and the In the 1960s and ’70s, he found a rigorous solution to a pressing said that the clickety-clack of wheels on tracks helped to shape his other to the right, Reich had a physical reaction; the sound went challenge: how to restore, after a long period of experimentation, rhythmic sense. Otherwise, he had a fairly ordinary middle-class down one side of his body and up the other. He generated an the primal pleasures of stable harmony and a steady pulse. Reich upbringing; he absorbed all the humming waves of information electronic composition from this happy accident, entitled It’s did this in a way that was unblinkingly modern, not at all nostalgic that were being given out by America’s culture of postwar prosper- Gonna Rain. He then made another, Come Out, based on the voice of or neo-Romantic. Works such as Drumming, Music for 18 Musi- ity. His formative musical experiences were with recordings, rather Daniel Hamm, one of six African-American boys who were beaten cians, New York Counterpoint, and You Are (Variations) resonate cleanly than with live performances. In particular, he found himself listen- up in a Harlem police precinct house in 1964. through the caverns of the mind, leaving the listener in a state of ing nonstop to Bach’s Brandenburg Concerto No. 5, Stravinsky’s Reich now had a stroke of genius: he translated the going-out-of- wide-awake delight. Reich’s influence is vast, reaching far outside Rite of Spring, and various bebop records featuring the likes of phase effect into instrumental music. , for two pianos, classical composition to encompass jazz, rock, pop, electronic mu- Charlie Parker, Miles Davis, and Kenny Clarke. uses a repeating pattern made up of the first six notes of the major sic, and hip-hop. On some days, as familiar shimmering patterns Inclined at first toward philosophy, he studied the thought of scale. As the pianists move in and out of sync, a surprisingly echo on the soundtracks of commercials and from the loudspeakers Ludwig Wittgenstein at Cornell. Then he went to Juilliard for eventful and colorful narrative unfolds, replete with modulations, of dance clubs, it seems as though we are living in a world scored music. Seeking an escape from the East Coast establishment, he transitions, and climaxes. In this and other pioneering process- by Reich. moved to San Francisco and enrolled in the music school at Mills driven works, a distinctive personality emerges — lean in form, In light of the grandeur of his reputation, it is almost College, where the Italian avant-gardist Luciano Berio was a detached in mood, logical in movement, yet marked by some disconcerting that the man himself is still so present, writing at full visiting professor in 1961 and 1962. Most of Reich’s early works indefinable mixture of beauty and sadness. The music has a soul force as he reaches the age of seventy. You can ride the subway employed Schoenberg’s twelve-tone method, but there was of its own, which may fascinate and mystify the composer as much to the lower end of Manhattan, emerge onto a street within sight something grudging about his use of the then-canonical as it does the rest of us. of the Brooklyn Bridge, walk for a minute or two, press a buzzer compositional system. He began to hear alternatives in the modal What came to be called minimalism was unleashed full force marked REICH, and, if you are fortunate, hear a crisp voice improvisations of John Coltrane, whom he went to hear some fifty in , first conceived in August 1969, the month of the say “Come on up.” He does not look the part of the musical times, and also in archival recordings of polyrhythmic African Manson murders and the killing of a spectator at a Rolling Stones revolutionist, whatever that might be. With his black button-down drumming. He also dabbled in San Francisco’s nascent psychedelic show in Altamont, California. Explosions of violence had been shirts and signature baseball cap, he fits the image of an inde- culture; he collaborated with one of his fellow students, Phil Lesh, filling the news: the assassinations of Robert Kennedy and Martin pendent film director, a cultural-studies professor, or some other later the bass player of The Grateful Dead, on far-out happenings Luther King, Jr., the massacre at My Lai in Vietnam, riots on uni- out-in-the-world intellectual. Once he starts speaking, you feel the and prankster spectacles. versity campuses and in inner cities. Four Organs is, in its own way, peculiar velocity of his mind. He is, notably, as much a listener as In the fall of 1964, Reich participated in the first performance an apocalyptic, end-of-the-world piece: heard at full volume, its a talker, although he talks at blistering speed. He reacts swiftly to of ’s In C, a hypnotic haze of multiple, looping patterns electric-organ sound becomes an all-out assault. The entire piece slight sounds in his midst—the soft buzz of a cell phone, a siren on derived from the C-major scale. Phenomena of repetition intrigued is based on a six-note chord that consists of a D-major triad super- the street outside, the whistle of a teakettle. Each sound has some him to no end. One day in January, 1965, he was fooling around imposed on top of an E-major one. As maracas provide a steady information to give him. The windows have thick double panes; with tapes of a Pentecostal preacher shouting “It ain’t gonna rain!” pulse, the notes of the chord are prolonged by degrees, even for a listener as omnivorous as Reich, the city gives out too when he noticed an interesting effect. Two identical tapes of the so that the harmony rotates this way and that. After many much information. preacher’s voice were running in unison, but one machine was permutations, it finally resolves on a simple open fifth. In a dark Steve Reich was born in New York, on October 3, 1936. His playing slightly faster than the other, so that the tapes began to go time, Reich was finding his way back to a solid center. parents separated when he was still a baby, and he spent much of out of phase: “It’s-s gonna-a rain-n! It’s-‘s gonn-nna rai-in! It’s-t’s In the 1976 masterwork , pulsating rhythm is balanced by a comparably sophisticated drama of harmony. Perhaps the most haunting Reich work to date is Different Trains, large-scale structures while expanding the expressive horizon in all The piece is almost symphonic in its narrative arc, proceeding which was given its premiere in 1988, by the Kronos Quartet. This directions. Within these larger harmonic forms Steve discovers a from light to dark and back to light again. It is built on a cycle of was the first piece in which the composer used recorded speech to melodic voice that is eloquently his own, adding an extra dimen- eleven chords, each of which governs a section from two or seven create melodic lines. It stemmed from the memory of those long sion to his unique musical language. minutes in length. Early on, bass instruments emphasize a low D, railroad journeys of childhood, and also from the adult reflection Because this musical trajectory parallels that of human mental giving the feeling that this is the work’s tonal center and basement that if Reich had been a child in Europe in the 1940s his fate might development, I have taken great joy in introducing children and level. But in Section V, bass clarinets and clarinets lower the floor have been different: “As a Jew, I would have had to ride on very young people to his musical world. Steve’s works teach them from D to C sharp — a crucial alteration in the physical space different trains.” The electronic component mingles voices of Afri- immediately in a singular way that music is a participatory event. of the music. The harmony plunges toward C-sharp minor, and can-American Pullman porters with those of Holocaust survivors It doesn’t matter whether you are playing, singing, or listening; rugged six-note figures come burrowing in. A similar change in the and the neutral noise of train whistles. As the string instruments you are part of the music. weather darkens Section IX, which is almost expressionistic in its sing along to these memory-shrouded sounds, they don’t tell us If you are lucky enough to work with him as a performer, your stabbing intensity. Only at the end do D- and A-major-ish chords what to feel; they set forth a glistening grid, on which we can plot excitement will be doubled by realizing not only that he wants brighten the air. our own emotions. The result is a music of precision and tears. you to perform a piece perfectly, but also that he loves it when Reich wrote several more examples of what might be called you perform it creatively. It is hard to describe the rush when he “grand minimalism,” letting his discoveries resonate within a large –Alex Ross, 2006 approaches you after your group has just nailed some very virtuosic frame. In Drumming, he applied lessons that he had learned from passage and says, with that half smile of his, “Now that’s just what studying West African drumming at the University of Ghana. The At the opening of any Steve Reich work, an idea sounds and the doctor ordered!” Desert Music and Tehillim are spacious, dramatic settings of William begins to resonate outward. The reflections created by this idea are Unlike any other music that I have come across, Steve Reich’s Carlos Williams and the Hebrew Psalms, respectively. Then, a new of such an exquisite nature that you feel the composer is dealing creations make us actively aware of our own listening experience. project seized Reich’s attention: he worked to erase the boundary with the purest form that music can have. In the same way that His is a musical mirror held up to remind us of what it means to be between speech and music, by teasing melodies out of the rise physicists are searching for the meaning of the universe in the alive and united by sound. and fall of recorded voices. In the 1990s, he produced a pair of smallest particles that make it up, Steve’s music deals with the most video operas with live accompaniment. First came , which profound secrets of how music comes into being. Steve not only –David Robertson, 2006 explored the history of the Cave at Hebron and the Biblical stories sees the world in a grain of sand, he sets it vibrating. related to it. Then came , which tells three parables of This purity of concept and approach makes Steve Reich’s out- technology run amok: the crash of the German airship Hindenburg, put a natural entry point for understanding how music comes into the testing of atomic bombs on Bikini Atoll, and, in a preview of a being and how it works its magic on us. Beginning in the 1960s, catastrophe to come, the birth of artificial intelligence and cloning. his early tape and phasing pieces cause us to explore our own In recent years, Reich has once again emphasized instrumental perceptions of speech and sound. With the rhythmic cannons of writing; in the Triple Quartet and You Are (Variations), classic minimal- the 1970s, he uses the elemental pulses of life to reveal an almost ism is enriched with new harmonic adventures and diversions. sculptural quality in music, where a small change in our aural viewpoint reveals an entirely new perspective. Independent harmonic rhythm arrives as well in this decade, grounding his T e h i l l i m

Part 1: Fast / Psalm 19:2–5 The Desert Music Ha-sha-mý-im meh-sa-peh-rím ka-vóhd Káil, The heavens declare the glory of G-d, Text by William Carlos Williams U-mah-ah-sáy ye díve mah-gíd ha-ra-ki-ah. the sky tells of His handiwork. Yóm-le-yóm ya-bée-ah óh-mer, Day to day pours forth speech, First Movement (Fast) Va-l-la Ie-li-la ya-chah-Ay dá-aht. night to night reveals knowledge. Ain-óh-mer va-áin deh-va-rim, Without speech and without words, Begin, my friend Beh-lí nish-máh ko-láhm. nevertheless their voice is heard. for you cannot, Beh-kawl-ha-áh-retz ya-tzáh ka-váhm, Their sound goes out through all the earth, you may be sure, U-vik-tzáy tay-váil me-lay-hém. and their words to the ends of the world. take your song, which drives all things out of mind, Part II: Fast / Psalm 34:13–15 Who is the man that desires life, with you to the other world. Mi-ha-ísh hey-chah-fáytz chah-yím, and loves days to see good? Oh-háyv yah-mím li-róte tov? Guard your tongue from evil, from “Theocritus: Idyll, a version from the Greek” Neh-tzór le-shon-cháh may-ráh, and your lips from speaking deceit. Uus-fah-táy-chah mi-dah-báyr mir-máh. Turn from evil, and do good, Second Movement (Moderate) Súr may-ráh va-ah-say-tóv, seek peace and pursue it. Ba-káysh sha-lóm va-rad-fáy-hu. Well, shall we With the merciful You are merciful, think or listen? Is there a sound addressed Part III: Slow / Psalm 18:26–27 with the upright You are upright. not wholly to the ear? Im-chah-sid, tit-chah-sáhd, With the pure You are pure, We half close lm-ga-vár ta-mím, ti-ta-máhm. and with the perverse You are subtle. our eyes. We do not Im-na-vár, tit-bah-rár, hear it through our eyes. Va-im-ee-káysh, tit-pah-tál. Praise Him with drum and dance, It is not praise Him with strings and winds. a flute note either, it is the relation Part IV: Fast / Psalm 150:4–6 Praise Him with sounding cymbals, of a flute note Hal-le-1ú-hu ba-tóf u-ma-chól, praise Him with clanging cymbals. to a drum. I am wide Hal-le-lú-hu ba-mi-ním va-u-gáv. Let all that breathes praise the Eternal, awake. The mind Hal-le-1ú-hu ba-tzil-tz-láy, sha-máh, Hallelujah. is listening. Hal-le-1ú-hu ba-tzil-tz-lay ta-ru-áh. Kol han-sha-má ta-ha-láil Yah, from “The Orchestra” Hal-le-yu-yáh.

Third Movement, Part One (Slow) Fourth Movement (Moderate)

Say to them: Well, shall we “the crack* train from New York” (Mr. Davis) “Man has survived hitherto because he think or listen? Is there a sound addressed “from New York to Los Angeles” was too ignorant to know how to realize not wholly to the ear? “different trains every time” (Virginia) his wishes. Now that he can realize them, We half close “from Chicago to New York” he must either change them or perish.” our eyes. We do not “in 1939” hear it through our eyes. “1939” (Mr. Davis) from “The Orchestra” It is not “1940” a flute note either, it is the relation “1941” Third Movement, Part Two (Moderate) of a flute note “1941 I guess it must’ve been” (Virginia) to a drum. I am wide it is a principle of music awake. The mind Europe - During the war to repeat the theme. Repeat is listening. “1940” (Rachella) and repeat again, “on my birthday” as the pace mounts. The from “The Orchestra” “The Germans walked in” theme is difficult “walked into Holland” but no more difficult Fifth Movement (Fast) “Germans invaded Hungary” (Paul) than the fact to be “I was in second grade” resolved. Inseparable from the fire “I had a teacher” its light “a very tall man, his hair was concretely plastered smooth” from “The Orchestra” takes precedence over it... “He said, ‘Black Crows invaded our country many years ago’” Who most shall advance the light - “and he pointed right at me” Third Movement, Part Three (Slow) call it what you may! “No more school” (Rachel) “You must go away” Say to them: from “Asphodel, That Greeny Flower” “and she said ‘Quick, go!” (Rachella) “Man has survived hitherto because he “and he said, ‘Don’t breathe!”’ was too ignorant to know how to realize Different Trains “into those cattle wagons” (Rachella) his wishes. Now that he can realize them, “for four days and four nights” he must either change them or perish.” America - Before the war “and then we went through these strange-sounding names” “from Chicago to New York” (Virginia) “Polish names” from “The Orchestra” “one of the fastest trains” “Lots of cattle wagons there” “They were loaded with people” “They shaved us” “They tattooed a number on our arm” “Flames going up to the sky—it was smoking” After the war You Are (Variations) was co-commissioned by the Los Angeles Generous support for this recording of The Desert Music is gratefully “and the war was over” (Paul) Master Chorale, Lincoln Center, and the Friends of the acknowledged from: “Are you sure?” (Rachella) Ensemble Modern. The Stanley H. Kaplan Educational Centers “The war is over” The Sydney and Frances Lewis Foundation “going to America” New York Counterpoint was commissioned by the Fromm Music Fund “to Los Angeles” Foundation for clarinetist Mrs. Betty Freeman “to New York” Richard Stoltzman. National Endowment for the Arts “from New York to Los Angeles” (Mr. Davis) The Forbes Foundation “one of the fastest trains” (Virginia) Cello Counterpoint was co-commissioned by the Koussevitzky Mrs. F. Henry Berlin “but today, they’re all gone” (Mr. Davis) Foundation in the Library of Congress, The Royal Conservatory New York State Council on the Arts “There was one girl, who had a beautiful voice” (Rachella) in The Hague, and Leiden University, for cellist Paul Fromm “and they loved to listen to the singing, the Germans” Maya Beiser. Ruth Cummings “and when she stopped singing they said, The Joe and Emily Lowe Foundation ‘More, more’ and they applauded” was commissioned by the Brooklyn Academy of Music’s Next * “crack” in the older sense of “best” Wave Festival for guitarist Pat Metheny.

Triple Quartet was commissioned for the Kronos Quartet by the COMMISSIONS National Endowment for the Arts, David A. and Evelyne T. Lennette, Tim Savinar and Patricia Unterman, and Meet the Different Trains was commissioned by Betty Freeman for the Composer/Arts Endowment Commissioning Music/USA, with Kronos Quartet. support from the Helen F. Whitaker Fund. Additional support was provided by the Clarence E. Heller Charitable Foundation. Tehillim was co-commissioned by the West German Radio, Cologne; South German Radio, Stuttgart; and the Rothko Proverb was co commissioned by the BBC Proms as part of its Chapel, Houston. 100th anniversary season in 1995 and by the Early Music Festival of Utrecht. Eight Lines was commissioned by the Hessischer Rundfunk (Radio Frankfurt). The Desert Music was co-commissioned by the West German Radio, Cologne, and the Brooklyn Academy of Music. credits Tehillim Mixed by John Kilgore, Judith Sherman, and Steve Reich Produced by Judith Sherman Pro Tools Engineer: Jimmy Hoyson D I S C O NE Recorded August 1993 at Wisseloord Studios, Hilversum, Second Engineer: Bruce Monical Music for 18 Musicians the Netherlands Editing Assistance: Jeanne Velonis Produced by Judith Sherman Engineered by Hans Bedecker Originally released on Nonesuch 79891, You Are (Variations) Recorded October 1996 at the Hit Factory, New York Assistant engineer for additional recording at The Hit Factory, P 2005 Nonesuch Records Engineered by John Kilgore New York: Andy Grassi Assistant engineers: Glen Marchese, Chris Hilt Edited and mixed by Judith Sherman and Steve Reich New York Counterpoint Production assistants: Sidney Chen, Jeanne Velonis at SoundByte Productions, New York Produced by Judith Sherman Mixed November 1996 and January 1997 at the Production coordinator: Karina Beznicki Recorded January 1996 at the Hit Factory, New York Hit Factory, New York Originally released on Nonesuch 79295, Engineered by John Kilgore Mix engineer: John Kilgore Tehillim/Three Movements Assistant engineer: Tony Black Assistant mix engineers: Tony Black, Greg Thompson P 1994 Nonesuch Records Mixed October 1998 at the Hit Factory, New York Editing assistance: Jeanne Velonis Assistant mix engineer: Tony Black Originally released as Nonesuch 79948, Music for 18 Musicians Eight Lines Editing assistance: Jeanne Velonis P 1994 Nonesuch Records Produced by Judith Sherman Originally released on Nonesuch 79295, Recorded June 1996 at the Hit Factory, New York New York Counterpoint/Eight Lines/Four Organs D I S C T w o Engineered by John Kilgore P 1997 Nonesuch Records Different Trains Assistant engineers: Greg Thompson, Kevin Stone Produced by Judith Sherman Production assistant: Sidney Chen Cello Counterpoint Recorded August September 1988 at Russian Hill Recording, Mixed October 1996 at the Hit Factory, New York Produced by Judith Sherman San Francisco, CA Assistant mix engineer: Tony Black Recorded Sept 29 & 30, 2003, at John Kilgore Sound Engineered by Las Brockman Editing assistance: Jeanne Velonis & Recording, New York, NY Assistant engineer: Michael Ahearn Originally released on Nonesuch 79295, Engineered by Jan Folkson Mix engineer: Rob Eaton New York Counterpoint/Eight Lines/Four Organs Mixed by John Kilgore Assistant mix engineer: Ban Fowler P 1997 Nonesuch Records Editing Assistance: Jeanne Velonis Production coordinator: Jennifer Keats Originally released on Nonesuch 79891, You Are (Variations) Originally released on Nonesuch 79176, D I S C T H R E E P 2005 Nonesuch Records Different Trains/Electric Counterpoint You Are (Variations) P 1989 Nonesuch Records Produced by Judith Sherman Electric Counterpoint Recorded March 29 & 30, 2005, at Studio A, Capitol Studios, Produced by Judith Sherman Hollywood, CA Recorded September October 1987 at Power Station, New York Engineered by John Kilgore

Engineered by: Rob Eaton Production assistant: Sidney Chen EXECUTIVE PRODUCER: ROBERT HURWITZ Assistant engineer: Gary Solomon Originally released on Nonesuch 79430, Production assistant: David Oakes Proverb/Nagoya Marimbas/City Life Design by John Gall Production coordinator: Jennifer Keats P 1996 Nonesuch Records Photograph of Steve Reich by Jeffrey Herman Originally released on Nonesuch 79176, Booklet Photography: Page 17 © Erich Hartmann/Magnum Different Trains/Electric Counterpoint The Desert Music Photos; Page 18 © Inge P 1989 Nonesuch Records Produced by Rudolph Werner and Steve Reich Morath/Magnum Photos; Page 29 © Raymond Recorded October 1984 at RCA Studio A, New York Depardon/Magnum Photos; Page 30 © Triple Quartet Engineered by Paul Goodman Werner Bischof/Magnum Photos; Page 40 Produced by Judy Sherman Editing and mixing: Karl-August Naegler, Wolf-Dieter Karwatki, © Micha Bar Am/Magnum Photos Recorded March and April 1999 and August 2000 Rudolph Werner, John Newton, Steve Reich at Skywalker Sound Originally released as Nonesuch 79101, The Desert Music For Nonesuch Records: Engineered by John Kilgore P 1985 Nonesuch Records Production Coordinator: Eli Cane Assistant Engineers: Bob Levy and Dann Thompson Editorial Coordinator: Robert Edridge-Waks Mixed by Steve Reich, Judith Sherman, and John Kilgore D I S C F I V E Production Supervisor: Karina Beznicki at Masque Sound. Music for Mallet Instruments, Voices, and Organ Originally released on Nonesuch 79546, Triple Quartet Produced by Judith Sherman For Tehillim, English translations of Psalms from P 2001 Nonesuch Records Recorded November 1988 at CTS Studios, London Standard JPS, revised by Steve Reich. Engineered by Dick Lemzey For The Desert Music, excerpts from “Theocritus: Idyl I,” D I S C F o u R Edited and mixed by Judith Sherman and Steve Reich “The Orchestra,” and “Asphodel, That Greeny Flower” Come Out at New York Digital Recording, Inc., New York from Pictures from Brueghel and Other Poems by Produced by Judith Sherman and Steve Reich Originally released on Nonesuch 79220, William Carlos Williams Originally released on Nonesuch 79169, Early Works: /Music for Mallet Instruments, (© 1954, 1955, 1962 by William Carlos Williams); Come Out/Piano Phase//It’s Gonna Rain Voices, and Organ used by permission of New Directions Publishing Corp. P 1987 Nonesuch Records P 1990 Nonesuch Records For The Desert Music, Michael Tilson Thomas appears Proverb Drumming courtesy of CBS Masterworks. Produced by Judith Sherman and Steve Reich Produced by Judith Sherman and Steve Reich Recorded June 1998 at the Hit Factory, New York Recorded May 1987 at RCA Studio A, New York For Different Trains, excerpts from testimonies of Holocaust Engineered by John Kilgore Engineered by Paul Goodman survivors used by permission of the Fortunoff Video Archive Assistant engineer: Greg Thompson Mixing and editing by Judith Sherman, Steve Reich, Paul Zinman for Holocaust Testimonies, Yale University Library and the Assistant mix engineer: Geraldo Lopez Originally released as Nonesuch 79170, Drumming Holocaust Collection of the American Jewish Committee’s Editing assistants: Jeanne Velonis, Karl Heriem P 1987 Nonesuch Records William E. Wiener Oral History Library. American train sounds come from recordings produced and engineered by Brad S. Miller with Colossus™, for Mobile Fidelity of Nevada, all rights reserved. European train sounds are taken from Sounds of the Steam Conductors Michael Tilson Thomas, David Robertson, Age recordings, “Engines with Accents” ATE 7036 and “Steam Bradley Lubman, Stefan Asbury, Alan Pierson, Peter Eötvös, in All Directions” ATE 7012, by permission of ASV Transcord George Manahan and Reinbert de Leeuw. Records. Siren and warning bell used by permission of Elektra Records Sound Effects. Casio FZ-1 and FZ-10M digital samplers Photographer, patron, and friend Betty Freeman. Concert used in composing and recording Different Trains courtesy of Jerry presenters etc. Harvey Lichtenstein, Karen Hopkins, Joe Melillo, Kovarski, Mike Taylor, and Ed Ahistrom, Casio Professional Graham Sheffield, Robert van Leer, Angela Dixon, Ara Musical Products Division. Guzelimian, Jane Moss, Laurent Bayle, Wolfgang Becker, Klaus Peter Kehr, Andreas Mölich-Zebhauser, Monika Cordero, Cathy Music published by Hendon Music Inc./Boosey & Hawkes (BMI) Graham, Walter Bachauer (in memoriam), Hans Otte, Clytus Gottwald, Ernst-Albrect Stiebler, Nicholas Snowman, Michael Special thanks, over the years, to: All the musicians I have worked Nyman, Daniel and Jacqueline Caux, Renzo Pognant, Enzo with, and most especially to the members of my own ensemble. Restagno, Shohachiro Haga, and Keizo Maeda.

Then, of course, to Bob Hurwitz, Peter Clancy, David Bither, My teachers: William Austin (in memoriam). Hall Overton Karina Beznicki, Melanie Zessos, Melissa Cusick, Sam Lambert, (in memoriam), Vincent Persichetti (in memoriam), and Eli Cane, Josh Berman, Gina Suarez, Robert Edridge-Waks, Luciano Berio (in memoriam). and Drew Thurlow at Nonesuch Records. As well as: Bill Colleran, Annette Morreau, A.M. Jones My producers, present and past: Judith Sherman, Dr. Rudolph (in memoriam), Steven Ehrenberg, Ben Rubin. Renée Levine, Werner, and David Behrman, and my engineer John Kilgore. Sydney and Frances Lewis, Ruth Cummings Sorensen, Ellis Friedman, James Kendrick, Ed Townsend, K. Robert Schwarz Jenny Bilfield, Janis Susskind, Tony Fell, David Drew, Holly (in memoriam) and Keith Potter. Mentzer, Marc Ostrow, Ken Krasner, Helane Anderson, Steven Swartz, Linda Golding, David Allenby, David Huntley Very special thanks to Virginia Mitchell (in memoriam), and (in memoriam), and many others at Boosey & Hawkes. most especially to Beryl and Ezra. And to many others I know I should have remembered. Andrew Rosner and Ralph Blackbourn at Allied Artists. Elizabeth Sobol at IMG Artists and Howard Stokar at Howard Stokar Management.

w w w . n o nes u ch . c o m 79962-2 Nonesuch Records Inc., a Warner Music Group Company, 1290 Avenue of the Americas, New York, NY 10104. This Compilation P & C 2006 Nonesuch Records Inc. for the United States and WEA International Inc. for the world outside of the United States. Warning: Unauthorized reproduction of this recording is prohibited by Federal law and subject to criminal prosecution.