Steve Reich -《Sextet Clapping Music Music for Pieces of Wood》(极简音乐: 六重奏 拍手音乐 木块音乐)[24bits 96KHz][FLAC]
是将某些音符在特定时间内不断地反覆而成为现代音乐的一种表现形式，并以各种不同的型态出现於流行音乐的领域中。「极简音乐」的意念，来之於美国作曲大师凯吉(John Cage 1912)的啟示，历经拉蒙特‧杨(La Monte Young 1935)、泰利‧莱利(Terry Riley 1935)以及史提夫‧莱希(Steve Reich 1936)等人发扬光大。1002打击乐团继「E1002 K Cage—1002打击乐团与John Cage」之后，将凯吉所啟发的「极简音乐」，由史提夫‧莱希，一位将打击乐的极简主义发挥地淋漓尽致的美国作曲大师，完整呈现给听眾。
曲 目：Music for Pieces of Wood
迈克尔斯蒂芬“史蒂夫”帝国（发音/raɪʃ/ ; 生于1936年10月3日）是美国作曲家的风格谁率先极简音乐 。 His innovations include using tape loops to create phasing patterns (examples are his early compositions, " It's Gonna Rain " and " Come Out "), and the use of simple, audible processes to explore musical concepts (for instance, " Pendulum Music " and " Four Organs ").他的创新包括使用磁带循环创造淘汰方式（例子是他的早期作品，“ 这是要去雨 “和”出头“），以及实例使用简单，发声过程，以探索音乐的概念（” 钟摆音乐 “和“ 四个机关 “）。 These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music , especially in the US.这些成分，大炮和他们的特点是使用重复的数字，节奏缓慢的谐波，大大影响现代音乐，尤其是在美国。 Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably the Grammy Award -winningDifferent Trains.赖克的工作主题，从他上了一个黑暗的性格以及在20世纪80年代引进的曆史题材作为犹太遗産，特别是格莱美奖得主不同的火车。 Reich's style of composition influenced many other composers and musical groups.帝国的组成风格影响了许多其他的作曲家和音乐团体。 Reich has been described byThe Guardianas one of "a handful of living composers who can legitimately claim to have altered the direction of musical history", [ 2 ] and the critic Kyle Gann has said Reich "may...be considered, by general acclamation, America's greatest living composer." [ 3 ] On January 25, 2007, Reich was named the 2007 recipient of the Polar Music Prize , together withSonny Rollins.赖克已被形容卫报为一体的“一小部分作曲家的生活谁可以合法地声称已经改变了方向”的音乐史， 和评论家凯尔江恩说帝国“可能...考虑中，一般鼓掌，美国最伟大的作曲家。“  1月25日，2007年，帝国被评为2007年收件人极地音乐奖 ，连同桑尼罗林斯 。 On April 20, 2009, Reich was awarded the 2009 Pulitzer Prize for Music for hisDouble Sextet. [ 4 ] 4月20日，2009年，帝国被授予2009年普利策奖的音乐为他的双六重奏。 
ARTISTS:: Neil Percy • LSO Percussion Ensemble
LABEL: LONDON SYMPHONY ORCHESTRA
CAT ID: LSO5073
PHYSICAL RELEASE DATE: June 10, 2016
DIGITAL RELEASE DATE: June 10, 2016
LSO Percussion Ensemble
LSO Live explore the music of America’s most influential living composer with performances of three of his most iconic works: Sextet, Clapping Music and Music for Pieces of Wood.
Employing Reich’s universally recognisable sound-world, Sextet uses hypnotic repetitions of a sequence of harmonies, which gradually overlap and interweave, resulting in a complex yet utterly compelling musical landscape. Introducing more dissonance and aggressive rhythms than previous compositions, the relationship of the five movements is that of an arch form, A-B-C-B-A. Changes in tempo are made abruptly at the beginning of new movements by metric modulation and sections are also organised harmonically with a chord cycle for the first and fifth. Reich says of the work – ‘The ambiguity here is between which is melody and which is accompaniment. In music that uses a great deal of repetition, I believe it is precisely these kinds of ambiguity that give vitality and life’.
Composed in 1972, Clapping Music strips back to the bare essentials, taking traditional African rhythms as its starting point. Conceived from a desire to compose music ‘that would need no instrument beyond the human body’ it is perhaps the most elemental example of phasing in the composer’s catalogue. The whole work consists of a single rhythmic cell which becomes staggered as the work progresses, creating an entrancing and hypnotic effect. Having previously performed the work with the composer, Neil Percy, LSO Principal Percussionist, delivers an inspired performance alongside his LSO Co-Principal, Sam Walton.
Music for Pieces of Wood takes this concept a step further, adding pitches, in the form of claves tuned A, B, C#, D# and D# an octave above. The claves are chosen for their resonant timbre and the piece is one of the loudest the composer has written, despite using no amplification whatsoever.
Neil Percy, says of his relationship with these pieces and the composer – ‘The thing I enjoy most about playing the music of Steve Reich is its diversity, its complexity, its challenging nature… We’ve played so many pieces of Steve’s over the years with him being present, so it’s got a very personal set of challenges that I find completely irresistible. That’s why, on this particular project for LSO Live, we tried to put together a programme that reflected all of the pieces that the group themselves really like to play.’
1. Clapping Music 3:36
2. Music for Pieces of Wood 11:41
3. Crotchet = 192 11:08
4. Crotchet = 96 4:32
5. Crotchet = 64 2:34
6. Crotchet = 96 3:32
7. Crotchet = 192 6:00