PHIL MAXWELL

Steve Reich was at the Barbican last Saturday for more 80th birthday celebrations.

To begin with a packed concert hall heard the piece “Pendulum Music” using seventeen upside down microphones released from pendulums by standing performers who sat cross legged once the swinging commenced. As each microphone passed a speaker on the ground feedback was created which changed as the momentum diminished in nearly total darkness. It felt as if you were exploring a barely lit cave using radar.

Next up was “Nagoya Guitars”, with two guitarists exchanging, revisiting and echoing tunes. This was an appropriate introduction to a special performance of “Electric Counterpoint”, one of Reich’s best known compositions. Originally written for a single guitarist accompanied by tape it was performed with a magnificent ensemble of 11 guitars and two basses. It was good to see musicians swaying with pleasure to the beat in the Barbican.

The Grammy award-winning “Different Trains” was performed next by the Britten Sinfonia. Initially drawing on his childhood memories of train journeys across America during the Second World War, Reich moves onto the horrific train journeys of prisoners destined for Nazi concentration camps in Europe. The music is peppered with train whistles, threatening sirens and recorded voices. The music takes us into the nightmare of the Holocaust. It was a shame that the performance wasn’t accompanied by the footage that was put together by Bill Morrison for the recent Liverpool performance.

A new ensemble piece “Pulses” came next followed by the famous composition “Three Tales” which was in three parts and addressed dangerous landmarks in the development of 20th century technology. In three parts the music explored the Hindenburg disaster, nuclear testing and the cloning of Dolly the sheep. As usual Reich’s music is incisive and prophetic. With the election of Donald Trump as president the sinister section on nuclear weapons has a new immediacy. The piece was a collaboration between Reich and his partner, video artist Beryl Korot. Her film resonated with the music and was applauded warmly by the audience.

Reich seems a modest and warm hearted human being; he chatted informally with members of the audience during the interval and handled the sound mixer at the back of the hall during the performance. I wonder what he thought about the digital technology at the Barbican? Would he have preferred some reel to reel tape recorders?

An enthusiastic member of the audience (there were many) was the composer Michael Nyman. During the 1970s Nyman assisted Reich in his first UK performance. He used the occasion to present Reich with a postcard Reich sent to him from New York. He told me “He sent it to me in 1970 so I am giving it him back in his 80th birthday year”. Altogether a historic and memorable evening. I’ve booked my ticket for his 100th birthday concert (hopefully in Liverpool & London again).

Steve Reich congratulates the lead guitarist following the performance of “Electric Counterpoint”

Steve Reich at the control desk in the Barbican concert hall

Steve Reich talks to a member of the audience during the interval

Steve Reich talks to a member of the audience during the interval

Steve Reich talks to a member of the audience during the interval

The stage during the interval

Michael Nyman (right) hands Steve Reich his postcard from the 1970s

Steve Reich reacts to seeing the postcard

Michael Nyman at the concert

Steve Reich with his partner, video artist Beryl Korot at the end of the concert

You may also be interested in:

Steve Reich In Liverpool

Also a short film with music by Lola Perrin (who has been described as “a feminine Steve Reich”):

BARCELONA