Illustration by Gemma Milly
After Steve Reich had answered all the questions from his interviewer Emma Warren (which you can read here) he took a series of questions from the floor. I’ve tried to transcribe the answers as best I can here because they were an intriguing bunch:
How do you balance the listenability of your music with what you want to create?
When I write I’m alone in the music, case and my theory is if I love it I hope you do too, side effects but I think it’s valid to question listenability if you’re writing a jingle. It’s not the same with a fine art composition. People are intuitively smart about music so you can’t fool them – they will smell a rat [if your music doesn’t come from the heart].
How easy is it to get into composition if you’re not classically trained?
Sometimes you can see shapes in music and follow them. My son got Pro Tools and everything changed because he suddenly saw what he was doing and the eye got involved in addition to the ear. It changes your perspective when you can see the music you are composing. I work with Sibelius; it’s easy to learn the basics but you should ask yourself – will it be useful? Will it help you?
Are you interested in audio illusions?
Well I haven’t used phasing since the 70s but [having said that] my entire arsenal of equipment is Macbook Pro, Sibelius and Reason. My new piece will feature speech samples from 9/11and they are triggered from a notation programme. I also wanted to create the equivalent in sound of stop action in a film, and something called granular synthesis can stop a sound anywhere, even on a consonant – “I saw a fishhhhhhhh…..” – it does a fantastic job of it.
Of course the audience want to know more about his new project…
During 9/11 I was living on Broadway, four blocks from Ground Zero. My son and grandkids were in the apartment when it happened, and I won’t go into details but it was terrifying but basically our neighbours saved my family. I didn’t do anything about it but a year ago I realised I had unfinished business and so I’m in the middle of a new piece based on the Jewish tradition whereby you don’t leave a body before it’s buried. These women didn’t know what parts were in the tents [at Ground Zero] but they came down and said psalms 24 hours a day.
I worry that I’m saying something flippant now, but how did you describe your music in the early days?
Hey, lighten up, they got London once so let’s hope they’re not back in a hurry!
It’s not important what you call your music: journalists want a label, but they’ll invent something anyway so it doesn’t matter. Philip Glass called it repetitive music. I don’t like ‘minimal’ but it’s better than trance or some other things. If a journalist ever pushes you on this say ‘wash out your mouth, it’s your job to write the next piece’. Don’t put yourself in a box – it’s someone else’s job to do that. Be polite though, and don’t make enemies if you don’t have to.
What is the process when you start writing? And how much has it changed?
Oh boy! I briefly did pieces for orchestra, and they were by far not my best works; they were too phat. I learnt that in the late 80s, so since the beginning, minus a little break, I have written for ensemble, e.g. six pianos. I want identical pairs of instruments. Before Music for 18 Musicians I used rhythmic melodic pattern, like drumming on a phone but then I thought what happens if if I worked things out harmonically and it really worked, so I continued. I start with a harmonic super structure, which before computers was done on a multi track tape. I’ve always worked in real sound, not in my head. I’m a crippled man, I have to hear it! In the mid 80s I got a grant and bought a Tascam 8 track, which weighed a tonne, but I used it for the next ten years until midi appeared. Different Trains was composed on a Mac which was easy. No, that’s a complete lie, it crashed every 15 seconds! I invent harmonic movements that don’t come intuitively, which is a bit like hanging onto a horse for dear life [to keep control]. All the details are done on computer but there is a lot of garbage. My trash can runneth over!
How do you advise moving from the creation of songs to symphonies or longer works?
It’s usually a mess when pop musicians try to do that – for example I would never advise Radiohead to write a symphony – they’re geniuses anyway so why bother. Anyone who doesn’t recognise that is mad. But if you are really serious about it it may mean going to music school to get the practical knowledge, which could be a laborious series of years.
Do you think it’s better to concentrate on emotion or concept?
Bach was the greatest improviser of his day but I’m not much of one so the bedrock of anything I’ve ever done has rested on musical intuition. How does it sound on Monday, Tuesday, next month? Does it keep sounding good?
And with that there is a standing ovation for this most revered of modern composers. I think there’s a room full of people here who will go away and reappraise the oeuvre of Steve Reich if they haven’t already done so.
Illustration by Gemma Milly.
Steve Reich gave a very inspiring lecture to the students of the 2010 Red Bull Music Academy (which you can read here). Afterwards he took a series of questions from the floor and I’ve tried to transcribe the answers as best I can on this blog, order because they were an intriguing bunch:
How do you balance the listenability of your music with what you want to create?
When I write I’m alone in the music, and my theory is if I love it I hope you do too, but I think it’s valid to question listenability if you’re writing a jingle. It’s not the same with a fine art composition. People are intuitively smart about music so you can’t fool them – they will smell a rat [if your music doesn’t come from the heart].
How easy is it to get into composition if you’re not classically trained?
Sometimes you can see shapes in music and follow them. My son got Pro Tools and everything changed because he suddenly saw what he was doing and the eye got involved in addition to the ear. It changes your perspective when you can see the music you are composing. I work with Sibelius; it’s easy to learn the basics but you should ask yourself – will it be useful? Will it help you?
Are you interested in audio illusions?
Well I haven’t used phasing since the 70s but [having said that] my entire arsenal of equipment is Macbook Pro, Sibelius and Reason. My new piece will feature speech samples from 9/11and they are triggered from a notation programme. I also wanted to create the equivalent in sound of stop action in a film, and something called granular synthesis can stop a sound anywhere, even on a consonant – “I saw a fishhhhhhhh…..” – it does a fantastic job of it.
Of course the audience want to know more about his new project…
During 9/11 I was living on Broadway, four blocks from Ground Zero. My son and grandkids were in the apartment when it happened, and I won’t go into details but it was terrifying but basically our neighbours saved my family. I didn’t do anything about it but a year ago I realised I had unfinished business and so I’m in the middle of a new piece based on the Jewish tradition whereby you don’t leave a body before it’s buried. These women didn’t know what parts were in the tents [at Ground Zero] but they came down and said psalms 24 hours a day.
I worry that I’m saying something flippant now, but how did you describe your music in the early days?
Hey, lighten up, they got London once so let’s hope they’re not back in a hurry!
It’s not important what you call your music: journalists want a label, but they’ll invent something anyway so it doesn’t matter. Philip Glass called it repetitive music. I don’t like ‘minimal’ but it’s better than trance or some other things. If a journalist ever pushes you on this say ‘wash out your mouth, it’s your job to write the next piece’. Don’t put yourself in a box – it’s someone else’s job to do that. Be polite though, and don’t make enemies if you don’t have to.
What is the process when you start writing? And how much has it changed?
Oh boy! I briefly did pieces for orchestra, and they were by far not my best works; they were too phat. I learnt that in the late 80s, so since the beginning, minus a little break, I have written for ensemble, e.g. six pianos. I want identical pairs of instruments. Before Music for 18 Musicians I used rhythmic melodic pattern, like drumming on a phone but then I thought what happens if if I worked things out harmonically and it really worked, so I continued. I start with a harmonic super structure, which before computers was done on a multi track tape. I’ve always worked in real sound, not in my head. I’m a crippled man, I have to hear it! In the mid 80s I got a grant and bought a Tascam 8 track, which weighed a tonne, but I used it for the next ten years until midi appeared. Different Trains was composed on a Mac which was easy. No, that’s a complete lie, it crashed every 15 seconds! I invent harmonic movements that don’t come intuitively, which is a bit like hanging onto a horse for dear life [to keep control]. All the details are done on computer but there is a lot of garbage. My trash can runneth over!
How do you advise moving from the creation of songs to symphonies or longer works?
It’s usually a mess when pop musicians try to do that – for example I would never advise Radiohead to write a symphony – they’re geniuses anyway so why bother. Anyone who doesn’t recognise that is mad. But if you are really serious about it it may mean going to music school to get the practical knowledge, which could be a laborious series of years.
Do you think it’s better to concentrate on emotion or concept?
Bach was the greatest improviser of his day but I’m not much of one so the bedrock of anything I’ve ever done has rested on musical intuition. How does it sound on Monday, Tuesday, next month? Does it keep sounding good?
And with that there is a standing ovation for this most revered of modern composers. I think there’s a room full of people here who will go away and reappraise the oeuvre of Steve Reich if they haven’t already done so.
Illustration by Gemma Milly.
Steve Reich gave a very inspiring lecture to the students of the 2010 Red Bull Music Academy (which you can read here). Afterwards he took a series of questions from the floor and I’ve tried to transcribe the answers as best I can on this blog, more about because they were an intriguing bunch:
How do you balance the listenability of your music with what you want to create?
When I write I’m alone in the music, web and my theory is if I love it I hope you do too, but I think it’s valid to question listenability if you’re writing a jingle. It’s not the same with a fine art composition. People are intuitively smart about music so you can’t fool them – they will smell a rat [if your music doesn’t come from the heart].
How easy is it to get into composition if you’re not classically trained?
Sometimes you can see shapes in music and follow them. My son got Pro Tools and everything changed because he suddenly saw what he was doing and the eye got involved in addition to the ear. It changes your perspective when you can see the music you are composing. I work with Sibelius; it’s easy to learn the basics but you should ask yourself – will it be useful? Will it help you?
Are you interested in audio illusions?
Well I haven’t used phasing since the 70s but [having said that] my entire arsenal of equipment is Macbook Pro, Sibelius and Reason. My new piece will feature speech samples from 9/11and they are triggered from a notation programme. I also wanted to create the equivalent in sound of stop action in a film, and something called granular synthesis can stop a sound anywhere, even on a consonant – “I saw a fishhhhhhhh…..” – it does a fantastic job of it.
Of course the audience want to know more about his new project…
During 9/11 I was living on Broadway, four blocks from Ground Zero. My son and grandkids were in the apartment when it happened, and I won’t go into details but it was terrifying but basically our neighbours saved my family. I didn’t do anything about it but a year ago I realised I had unfinished business and so I’m in the middle of a new piece based on the Jewish tradition whereby you don’t leave a body before it’s buried. These women didn’t know what parts were in the tents [at Ground Zero] but they came down and said psalms 24 hours a day.
I worry that I’m saying something flippant now, but how did you describe your music in the early days?
Hey, lighten up, they got London once so let’s hope they’re not back in a hurry!
It’s not important what you call your music: journalists want a label, but they’ll invent something anyway so it doesn’t matter. Philip Glass called it repetitive music. I don’t like ‘minimal’ but it’s better than trance or some other things. If a journalist ever pushes you on this say ‘wash out your mouth, it’s your job to write the next piece’. Don’t put yourself in a box – it’s someone else’s job to do that. Be polite though, and don’t make enemies if you don’t have to.
What is the process when you start writing? And how much has it changed?
Oh boy! I briefly did pieces for orchestra, and they were by far not my best works; they were too phat. I learnt that in the late 80s, so since the beginning, minus a little break, I have written for ensemble, e.g. six pianos. I want identical pairs of instruments. Before Music for 18 Musicians I used rhythmic melodic pattern, like drumming on a phone but then I thought what happens if if I worked things out harmonically and it really worked, so I continued. I start with a harmonic super structure, which before computers was done on a multi track tape. I’ve always worked in real sound, not in my head. I’m a crippled man, I have to hear it! In the mid 80s I got a grant and bought a Tascam 8 track, which weighed a tonne, but I used it for the next ten years until midi appeared. Different Trains was composed on a Mac which was easy. No, that’s a complete lie, it crashed every 15 seconds! I invent harmonic movements that don’t come intuitively, which is a bit like hanging onto a horse for dear life [to keep control]. All the details are done on computer but there is a lot of garbage. My trash can runneth over!
How do you advise moving from the creation of songs to symphonies or longer works?
It’s usually a mess when pop musicians try to do that – for example I would never advise Radiohead to write a symphony – they’re geniuses anyway so why bother. Anyone who doesn’t recognise that is mad. But if you are really serious about it it may mean going to music school to get the practical knowledge, which could be a laborious series of years.
Do you think it’s better to concentrate on emotion or concept?
Bach was the greatest improviser of his day but I’m not much of one so the bedrock of anything I’ve ever done has rested on musical intuition. How does it sound on Monday, Tuesday, next month? Does it keep sounding good?
And with that there is a standing ovation for this most revered of modern composers. I think there’s a room full of people here who will go away and reappraise the oeuvre of Steve Reich if they haven’t already done so.
Steve Reich by Gemma Milly.
Steve Reich is a seriously cult figure for contemporary beats based music. Famed for his minimalist compositions from the 60s onwards he continues to be active today and even though I’ve heard he can be a difficult old bugger to interview, remedy at 74 years of age he was charming and lucid when he gave his lecture to the students of the 2010 Red Bull Music Academy.
Red Bull Music Academy lecture theatre.
I skirted into the back of the packed lecture theatre just as he was starting – and I use the term ‘lecture theatre’ lightly because we are talking the most comfortable lecture theatre you ever saw. Designer arm chairs stuffed with colour co-ordinated cushions were orientated around a sofa interview area above which hung the distinctive Red Bull coat of arms, website like this if you will. Emma “rabbit” Warren, who I’ve known since I was an intern at The Face over a decade ago, was tasked with asking the questions – over the years she has carved a niche for herself in this particular music scene and acts as a “team member” for the academy.
Emma Warren by Gemma Milly.
What follows is by no means a direct transcription of the interview, but an edited version that I hope will make sense to not only those who attended the lecture but anyone who is interested in finding out more about what makes Steve Reich tick. It was certainly an education for me.
Steve Reich‘s musical career started with piano lessons and then the study of drums at the age of 14. This conversation began with his move to San Francisco in 1962 where he decided to become a cabbie so that he wouldn’t have to teach. Emma asked whether it was hard to make music around his day job. “Night job,” he corrected her. “Necessity is the mother of invention – I coulda taught harmony and theory in Nebraska but I’d had it up to here with the academic world.” He saw how his friends became beaten down. “In my time almost all the composers in the US were in universities because that was the easiest job to get but I’m sure that now even being a DJ will be turned into academic trash. But you need to put a lot of energy into teaching and I think if you can’t then that’s immoral, and if you do then you’re gonna be too wiped out to make music.” Surely a sage piece of advice to anyone considering juggling teaching with a successful artistic career. “I had a good time driving the cab and I wasn’t invested in it – it really fit me and was making more money than most musical professors too!”
Unfortunately he wasn’t a cab driver for long: “I inched forward and bumped into someone and ended up working in a post office.” Emma asked if this was an influential period – down amongst the sounds of the ‘street’. “I don’t know how true that would be. All music comes from a time and place. I come from New York, the West Coast, during the 1960s and 70s.” New York was a noisy place to be. “I used to wander around with earplugs in.” He attributes his early experimentations with loops and phasing on a tape machine to such ideas being “in the air” during that period. “You are who you are and your music will bear evidence to the honesty of the situation.”
In the early 60s the Cuban Missile Crisis got everyone “kinda concerned… we felt the clock was ticking. The crisis passed but it made its mark.” In 1964 he recorded Brother Walter in Union Square preaching about the flood and created seminal work “It’s Gonna Rain” where he made use of the sounds without focusing on their meaning. “Do you hear the ‘wap wap’ in the background? That’s the wings of a pigeon, a pigeon drummer.” He described at length how he played around with the sounds, feeding them through mono into stereo and then back again, to offset the source material and create the pioneering phasing technique that has influenced many contemporary composers since. Because he cut the tape loops by hand there was always going to be a bit of drift, creating a “sense of direction”. He gleefully describes how the sound “slides across your testicles, it’s really creepy! You can feel the vibration, and then it gets to one ear sooner than the other.” He found it intriguing that he could splice things together to make sounds that resembled the beats found in African music. “I thought – what have I got here? Mechanised Africans!” The piece becomes progressively more spooky and paranoid in feel. “We’re in the ark, locking the door, it’s the end of the world… a betrayal in sound.” Lest we doubt this sudden moribund turn he confirms, “Yes, I was in a bad state of mind at the time and given what was going on in the world.”
Steve Reich & Emma Warren in conversation by Gemma Milly.
A trip to Ghana in 1971 to study music was a key turning point. “All music there was a religiously, politically or historically orientated part of everyday life.” Whilst there he managed to contract malaria by picking up 100s of bites on his sandalled feet, despite a dose of anti-malarials. He realised that music was a form of communication that families were morally obliged to upkeep, but laughed that he met a Ghanaian man many years later who was no longer interested in “grandpa’s music”. Tastes change all over the world.
But Steve was keen not to fall into the trap of trying to adopt African music wholesale. “Many people from my generation drowned in India – it’s like an ocean containing thousands of years of music and as an individual it’s hard to make any sense out of it.” He bought some gang gangs in Ghana – iron bells that are used to accompany songs with a beautiful rattle. “They’re not that big, and I bought six of them. I thought I would use them in my music, but I don’t have perfect pitch and I was like ‘what do I do? They don’t sound right, should I get out the metal file?’ But then I felt like they would be saying ‘hi, I’m a gang gang, pleased to meet you,’ if I used them in my music. I am not an African and they carry the weight of a culture that’s not mine – so I had to think about what I had learnt that could travel, and that was the structure.”
He returned keen to play around with rhythmical complexity of the kind that is used in jazz such as the big band classic Africa/Brass by Coltrane. “It sounds like elephants coming through the jungle for half an hour, there’s no harmonic movement and yet it’s definitely not boring!” He concluded that there was tension and intensity precisely because there was no change. “In Shotgun by Junior Walker you’re waiting for another section, but there is no other section. There was something in the air [during that period] and it was harmonic stasis – even Bob Dylan was experimenting with one chord. It was coming in from other sources outside the west; the structural idea of a canon as an empty vessel that can travel anywhere.”
1971 was also the last year that Steve used the looped tape phasing technique, although he was keen not to be rude about laptop music in a room full of predominantly electronic musicians. “My live ideas came from a machine because all divisions are permeable.” Yet he felt trapped by gadgetry. “I felt like ‘I can’t leave this thing and I can’t do it live!’ I didn’t want to be a little tape maker.” The fact remains that he sees synthesisers and their ilk primarily as a means to an end. “I like the analogue sound so I was excited when the sampler was invented.” He felt liberated and exhilarated once he was able to say “look ma, no tape!” and started teaching ensembles to play his compositions live without the aid of traditional musical notation. Since then his music has got progressively more complex and he has always toured with a close clique of live musicians that he’s worked with for many years. “We’re the gold standard but other generations have picked it up. For instance the musicians in Riga in Latvia burnt Music for 18 Musicians right down into the ground.” Nowadays he uses midi mockups of live compositions to send out for performers to learn across the world.
Emma asked if there was some benefit in musicians learning his compositions without the benefit of written musical scores. “When music began we can speculate that there was no notation. Even early notation is in question. Notation as we know it started during the 10th and 11th centuries in the West – to save music for posterity. There were little pockets where people wrote things down, such as some isolated forms in Indonesia, but it was a marginal thing.” He concluded that notated music has only ever formed a very small part of all the music created worldwide and wonders if it even has a future. “Nowadays the normal position for walking down the street is like this,” he says, standing, head down, arm up, as if his mobile is in his hand. “It won’t be without it’s consequences…”
Steve believes that folk music can be used to describe whatever we interact with that’s around us, and can spontaneously arise in any culture. “Pop music is the folk music of our culture so in some sense electronics are the folk instrument of our time.” We’d come to the end of the guided lecture time, and sat in awed silence as Steve Reich played arguably his most famous piece, Music for 18 Musicians, through the huge lecture PA system… that is until an abrupt technical glitch snapped us all out of our reverie. “Anyone know how this thing works?!” asked Steve, frustratedly betraying his technophobery.
Find out how Steve answered a series of very well thought out questions from the floor in the next blog…
Amanda Wakeley by Pearl Law.
Amanda Wakeley. You’d be right in wondering what on earth I was doing at this show. Surely not my cup of tea? Well, unhealthy you’d be right. It isn’t. Her clothes aren’t. BUT I like to challenge my preconceived ideas of what is cool and truth be told I like the change of pace and the change of crowd at this kind of fashion show. It gets a bit boring after awhile, drugs all those overdressed drag queens and try-hard fashion students at the cool On/Off shows. Someone dressed as a graduate complete with mortar board and black dustbin bag gown? Pah! Seen it done yesterday darling.
And so it was that towards the end of fashion week I found myself quaffing raspberry infused champagne in the BFC tent waiting area. You don’t get that over at Freemasons’ Hall and Victoria House let me tell you! Around me stood highly groomed women who clearly had money, information pills all of course elegantly attired in black, honey-highlighted barnets swinging smoothly around perfectly botoxed brows. Then there was a few token scruffs (including me) sitting bow-headedly on the seats, looking uncomfortable as rich people swanned above them.
Scroffulous types such as myself perch uncomfortably amidst a sea of coiffuredness.
Then that luminary of many a Daily Mail column, Liz Jones, swept in, fitting in entirely apart from the orange skin and viciously dyed black hair straight out of Jordan‘s book of style. She stood alone, typing pointedly into her phone as she was given a wide berth by people who clearly know who she was, only a few brave souls daring to nod hi to her. By some stroke of fate I found myself in the front row just one person down from Liz, and then Hilary Alexander scuttled in at the last minute and planted herself two over. The close presence of two such interesting characters proved to be a major distraction for me, along with the bemused looking gentleman opposite, perched incongrously amidst of a gaggle of women.
Hilary Alexander. She works at the Telegraph. I’m sure you know that.
Liz Jones.
The Amanda Wakely front row.
Under our seats there were some tasteful goodies entirely in keeping with the Amanda Wakeley aesthetic: which is to say, tasteful, elegant, highly groomed, you get the idea. Which means that I have a nice new foundation, cover-up and mascara courtesy of Barbara Daly for, erm, Tescos. Classy choice of collaborator there. The second one that is, the one that Amanda was probably hoping nobody noticed in the small print of the accompanying leaflet.
Amanda Wakeley by Pearl Law.
Amanda Wakeley. All photography by Amelia Gregory.
Amanda showed lots of nice swing shapes that I liked, in beige, fawn, grey and black (that I didn’t like so much). Throw in a few tasteful monochrome prints, some Grecian-esque arm thongs and a dash of sequins and you’re away. These weren’t bad clothes at all, on the contrary they were extremely lovely and for once I could actually imagine the audience wearing the clothes they had come to see and in fact Amanda herself was the epitome of her own aesthetic when she appeared for a bow at the end… but I must confess that around about half way through I got more fixated on getting a shot of Liz and Hilary’s notebooks.
Ah, but which is which? It’s a fun little game for you!
What I do hold issue with was the amount of fur sent down the catwalk, a subject which I have resolutely refused to address so far in my posts about the Autumn/Winter 2010 fashion shows. I find it massively distressing that fur has somehow crept back into our consciousness and become okay over the past ten years or so. What happened to the militancy of the late 80s/early 90s? Where is PETA now? Why is this suddenly okay? Now more than ever in our centrally-heated lives, fur represents the ultimate luxury for over-rich people with no conscience: there’s simply no excuse for submitting animals to such cruelty when there are many viable alternatives. The very same people cherish their cuddlesome pets but turn a blind eye if an equally cute fluffy animal is “farmed.” Plus, these women don’t actually spend time outdoors, they travel around town between lunch dates in the cosy warmth of a chauffeur driven vehicle. Yes, I agree that it’s been very cold lately, but frankly it ain’t the Arctic, and unless you’re an Eskimo and you shot that fuckin’ polar bear yourself to keep your family warm I’ll have no truck with fur being worn as clothing. It’s just a fashion, and it’s an unremittingly shit trend at that.
Unfortunately, and much to my annoyance, Amanda was far from the only designer to show large amounts of fur. It makes me very sad when other designers, who I otherwise rate very highly, shove bits of fur into their collections. My response to this? I will not talk about that fur, unless it’s in the negative. There, I’ve tied my flag to the mast.
Categories ,Amanda Wakeley, ,Barbara Daly, ,BFC Tent, ,Eskimo, ,Fur, ,Grecian, ,Highly groomed ladies, ,Hilary Alexander, ,Liz Jones, ,Pearl Law, ,PETA, ,Somerset House, ,Tescos, ,The Daily Mail
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- In conversation with Amanda Wakeley
- London Fashion Week A/W 2011 Catwalk Review: Amanda Wakeley (by Helen)
- London Fashion Week A/W 2011 Catwalk Review: Jena.Theo (by Matt)
- London Fashion Week A/W 2011 Catwalk Review: Maria Grachvogel
