Great work Ensemble, tremendous constant reading work with changing meter. Reich underwrote for the winds in this work. One movement could have been a winds showcase. Still an incredible work with a powerful finale
Unfortunatley mics from the radio where misplaced. Much too close to the stage/monitorspeakers and not in the middle of the hall/in front of the PA. That's Live :-),...
Dear Freund guter Musik, when all instruments are amplified the placement of musicians has not a lot to do with the présence or the clarity. That totally dependends on the work of the soundengineer. To have the singers in the front or side causes a lot of problems regarding the contact between conductor and singers cq conductor and musicians. And that is with Tehillim where every bar has a different meter, the most important factor. If you miss clarity in the recording it is because of the misplaced recording mics of the radio. Sometimes radio people do not realize that if they can not get a feed from the mixing desk they have to record the sound of the speakers and not the sound of the instruments on stage. Otherwise they record the monitor mix which can be quite different than the mix for the public. For example the audibility of the organs is for intonation reasons very important for the musicians and singers on stage because of the intonation, but should be much softer than the vocals in the hall. ... which was definetly the case for the public. To be fair I should mention that this was recorded in a festival situation where a soundcheck was impossible...
INSOMNIO ENSEMBLE Thanks a lot for the answer. I know the score very well for 20 years and never the four women voices were placed as usual near the conductor. I remember a performance in Frankfurt with Ensemble Modern and with Steve Reich himself sitting at the sound system. It was very disappointing because it sounded like a CD and not like a live concert. Do you tried a nearly unplugged version also? It's a masterpiece but the problem is always that Steve Reich wants that all should be amplified. I think less would be more. I want to conduct Tehillim in few years and I think over to do it in a church unplugged and with the singers left of me in front and with little portable organs with pipes. I think it could work. What do you think?
I can assure you that a lot of people tried that. Steve Reich too. People tried it also with choir groups to get a "natural" amplification. And it will not work. You will not get the groove and sound (without amplification). Probably you can do it different but that is not Steve Reich. I doubt that you actually will find singers who can do it "from the side". And you probably realize the difficulty of the conducting part. On top of it the percussionists constantly think different subdivisions/meters than you conduct. They keep "contact" by being together every few bars on a downbeat. If you make one mistake the whole ensemble can crash. If one musician does make a mistake the same can happen. It is like juggling. If one ball goes slighty out of its pass, the whole machine can crash in a blink of a second.
Well, we did already some pieces of Reich and I know the score with the time changes well enough. No worry! But I think to perform such a masterwork is a great task and to think about better ways are really essential to get not a sterile performance as in Frankfurt. Let's see....But thanks for the report!
What an excellent recording of a beautiful and challenging piece of music. Bravo tutti!
Son GRAND OEUVRE, avec la musique pour 18 musiciens. Jouissif
Beautiful rendition of an amazing piece of music! Just lovely
Absolutely one of my favorite pieces of music ever written. Your ensemble did an incredible job. Thanks for posting.
Great work Ensemble, tremendous constant reading work with changing meter. Reich underwrote for the winds in this work. One movement could have been a winds showcase. Still an incredible work with a powerful finale
Thanks for posting! Sublime
Congrats for the vocalist, I know the piece claims extra stamina for this smoothless performance.
Fantastic piece! Thanks for sharing
Great. Would love to hear this live one day.
Sugar Puff
Hi, we are performing Tehillim on Sunday, May 27th in Vancouver Annex Theatre, you are welcome to come!
We will do it end of May in Freiburg and at 8th June in Basel.
Ashkenazi music is beautiful!
the bass player is the hero of this performance
needs a bit more cowbell though...
Hey Steve, the length of that 1/16th note shaker segment feels a bit sadistic.
And I always thought it was a high-hat!!
Waoowwwww Amazing❤
Fantastisch!!jammer dat ik er niet bij was.
全ての未来の音楽の上と、この音楽は、考えられるからだ。
Very nice! But boy the loud organ in the first movement makes one jump.
Unfortunatley mics from the radio where misplaced. Much too close to the stage/monitorspeakers and not in the middle of the hall/in front of the PA. That's Live :-),...
最大の宇宙的未来派サウンドなんだ。
Wow, This must be incredibly difficult to perform.
宇宙意識の羅針盤。
ライヒこの曲は、宇宙意識の羅針盤なんだ、宇宙の神に頼むんだ、地球と宇宙が滅んでしまう‼️
Hi guys, I couldn't listen to this because some philistine is breaking it up with ads.😢
世界遺産。
With ads.
この音楽は、レスバクスターが全部裏だったはずだ。
村田三重だった。
なんやこれ
It makes no sense to me to post the singers behind the ensemble. They are the main thing in the score. So it looses clarity and presence. Why?
Dear Freund guter Musik, when all instruments are amplified the placement of musicians has not a lot to do with the présence or the clarity. That totally dependends on the work of the soundengineer. To have the singers in the front or side causes a lot of problems regarding the contact between conductor and singers cq conductor and musicians. And that is with Tehillim where every bar has a different meter, the most important factor.
If you miss clarity in the recording it is because of the misplaced recording mics of the radio. Sometimes radio people do not realize that if they can not get a feed from the mixing desk they have to record the sound of the speakers and not the sound of the instruments on stage. Otherwise they record the monitor mix which can be quite different than the mix for the public. For example the audibility of the organs is for intonation reasons very important for the musicians and singers on stage because of the intonation, but should be much softer than the vocals in the hall. ... which was definetly the case for the public. To be fair I should mention that this was recorded in a festival situation where a soundcheck was impossible...
INSOMNIO ENSEMBLE Thanks a lot for the answer. I know the score very well for 20 years and never the four women voices were placed as usual near the conductor. I remember a performance in Frankfurt with Ensemble Modern and with Steve Reich himself sitting at the sound system. It was very disappointing because it sounded like a CD and not like a live concert. Do you tried a nearly unplugged version also?
It's a masterpiece but the problem is always that Steve Reich wants that all should be amplified. I think less would be more. I want to conduct Tehillim in few years and I think over to do it in a church unplugged and with the singers left of me in front and with little portable organs with pipes. I think it could work. What do you think?
I can assure you that a lot of people tried that. Steve Reich too. People tried it also with choir groups to get a "natural" amplification. And it will not work. You will not get the groove and sound (without amplification). Probably you can do it different but that is not Steve Reich. I doubt that you actually will find singers who can do it "from the side". And you probably realize the difficulty of the conducting part. On top of it the percussionists constantly think different subdivisions/meters than you conduct. They keep "contact" by being together every few bars on a downbeat. If you make one mistake the whole ensemble can crash. If one musician does make a mistake the same can happen. It is like juggling. If one ball goes slighty out of its pass, the whole machine can crash in a blink of a second.
Well, we did already some pieces of Reich and I know the score with the time changes well enough. No worry! But I think to perform such a masterwork is a great task and to think about better ways are really essential to get not a sterile performance as in Frankfurt. Let's see....But thanks for the report!
Schon gemacht? Erzählen Sie mir, bitte, wie war‘s.
全ての未来の音楽の上と、この音楽は、考えられるからだ。