STEVE REICH "Different Trains" NONESUCH w/INSERT MINT

	£		19
	$		25

  STEVE REICH "Different Trains" NONESUCH w/INSERT MINT c/w Electric Counterpoint - BEAUTIFUL COPY - ONE PLAY
STEVE REICH
Different Trains
Electric Counterpoint

NONESUCH/ELEKTRA (979 176-1) ORIGINAL PRESSING (1989) OF TWO BEAUTIFUL AND HAUNTING STEVE REICH WORKS "Different Trains" AND "Electric Counterpoint"

THE RECORD IS IN ONCE PLAYED, MINT CONDITION
THE MATTE TEXTURED SLEEVE IS MINT (apart from a small tear at the opening edge - please see close-up photo) AS IS THE ORIGINAL INSERT WITH NOTES BY STEVE REICH (PRINTED IN ENGLISH AND GERMAN)

SUPERB, PRACTICALLY AS-NEW COPY OF TWO STEVE REICH MASTERPIECES DIFFICULT TO FIND ON VINYL - ESPECIALLY IN THIS CONDITION - VERY HIGHLY RECOMMENDED
Electric Counterpoint
consists of three movements, "Fast", "Slow", and "Fast". It was first recorded by guitarist Pat Metheny in 1987 and released together with Reich's Different Trains, performed by the Kronos Quartet, on Nonesuch 979 176-1. It uses the techniques of looping and sampling extensively to produce its layered multiple guitar sound.
Fast (6:51)
Slow (3:21)
Fast (4:29)
As with other pieces by Reich, this piece has influenced many modern musical artists, such as The Orb, who sampled the third movement as one of the hooks for "Little Fluffy Clouds", and RJD2, who sampled the piece's opening for his song "The Proxy" from his first release Deadringer

Different Trains
is a three-movement piece for string quartet and tape written by Steve Reich in 1988. It won a Grammy Award in 1989 for Best Contemporary Classical Composition.

* America-Before the War (movement 1) (8:59)
* Europe-During the War (movement 2) (7:31)
* After the War (movement 3) (10:20)

During the war years, Reich made train journeys between New York and Los Angeles to visit his parents, who had separated. Years later, he pondered the fact that, as a Jew, had he been in Europe instead of the United States at that time, he might have been travelling in Holocaust trains.

Steve Reich's earlier work had frequently used tape, looped and played back at different speeds. However, Different Trains was a novel experiment, using recorded speech as a source for melodies.
In Different Trains, after each melody in the piece is introduced, usually by a single instrument (viola for women and cello for men), a recording of the spoken phrase from which the melody derives is played. The melody is then developed for a while, with the instruments playing along with the recording of the phrase or part of the phrase. The music for the strings makes extensive use of paradiddles rhythms, with alternating pitches instead of alternating drum sticking. In addition to speech, the piece includes recordings of train sounds, as well as of sirens and warning bells.

The recorded speech that forms the basis for Different Trains is taken from interviews with people in the United States and Europe about the years leading up to, during, and immediately after World War II. In the first movement, America — Before the War, Reich's governess Virginia and Lawrence Davis, a Pullman porter, reminisce about train travel in the U.S. American train sounds are heard in the background. In the second movement, Europe — During the War, three Holocaust survivors (identified by Reich as Paul, Rachel, and Rachella) speak about their experiences in Europe during the war, including their train trips to concentration camps. European train sounds and sirens are heard in this movement. The American train whistles are long perfect intervals of fourths and fifths, while the European train whistles are mostly short triadic shrieks. The third movement, After the War, features the Holocaust survivors talking about the years immediately following World War II, along with recordings of Davis and Virginia. There is a return to the American train sounds from the first movement.

Reich created these works by transferring his speech recordings into a digital sampling keyboard (a Casio FZ-1). Musicians in the pop, dance and electronica fields had been using samplers for years, but this was one of the very first 'classical' works to utilise samples in melodic development.

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