Steve Reich - Collected Works (2025) {26CD Box Set}
Artist: Steve Reich
Title: Collected Works
Year Of Release: 2025
Label: Nonesuch
Genre: Classical
Quality: FLAC (tracks+.cue, log)
Total Time: 20:46:54
Total Size: 5.60 GB
WebSite: Album Preview
Tracklist:Title: Collected Works
Year Of Release: 2025
Label: Nonesuch
Genre: Classical
Quality: FLAC (tracks+.cue, log)
Total Time: 20:46:54
Total Size: 5.60 GB
WebSite: Album Preview
Disc 1 - Early Works
01. Come Out (13:09)
02. Piano Phase (20:37)
03. Clapping Music (4:48)
04. It's Gonna Rain, Part I (8:03)
05. It's Gonna Rain, Part II (9:47)
Disc 2 - Early Works II
01. Piano Phase (16:45)
02. Pendulum Music (4:44)
03. Four Organs (15:44)
04. Phase Patterns (16:15)
Disc 3 - Drumming
01. Drumming Pt. I (17:31)
02. Drumming Pt. II (18:11)
03. Drumming Pt. III (11:12)
04. Drumming Pt. IV (9:51)
Disc 4 - Early Works III
01. Duet (5:29)
02. Music For Mallet Instruments, Voices And Organ (18:39)
03. Six Pianos (24:21)
04. Variations For Winds, Strings And Keyboards (21:50)
05. Vermont Counterpoint (8:51)
Disc 5 - Music For 18 Musicians
01. Pulses (5:26)
02. Section I (3:59)
03. Section II (5:13)
04. Section IIIA (3:55)
05. Section IIIB (3:46)
06. Section IV (6:37)
07. Section V (6:49)
08. Section VI (4:54)
09. Section VII (4:19)
10. Section VIII (3:35)
11. Section IX (5:24)
12. Section X (1:51)
13. Section XI (5:44)
14. Pulses II (6:11)
Disc 6 - New York Counterpoint, Eight Lines, Four Organs
01. New York Counterpoint I. Fast (5:03)
02. New York Counterpoint II. Slow (2:44)
03. New York Counterpoint III. Fast (3:35)
04. Eight Lines (17:32)
05. Four Organs (15:53)
Disc 7 - Tehillim
01. Tehillim Pt. I (Fast) (11:46)
02. Tehillim Pt. II (Fast) (6:02)
03. Tehillim Pt. III (Slow) (6:19)
04. Tehillim Pt. IV (Fast) (6:34)
05. Three Movement I (6:43)
06. Three Movement II (3:42)
07. Three Movement III (4:22)
Disc 8 - The Desert Music
01. First Movement (Fast) (7:54)
02. Second Movement (Moderate) (6:59)
03. Third Movement, Pt. 1 (Slow) (7:00)
04. Third Movement, Pt. 2 (Moderate) (5:53)
05. Third Movement, Pt. 3 (Slow) (5:55)
06. Fourth Movement (Moderate) (3:35)
07. Fifth Movement (Fast) (10:48)
Disc 9 - Sextet, Six Marimbas
01. Sextet I (10:29)
02. Sextet II (4:13)
03. Sextet III (2:28)
04. Sextet IV (3:14)
05. Sextet V (6:02)
06. Six Marimbas (16:19)
Disc 10 - Different Trains, Electric Counterpoint
01. Different Trains America - Before The War (8:59)
02. Different Trains Europe - During The War (7:31)
03. Different Trains After The War (10:32)
04. Electric Counterpoint I. Fast (6:51)
05. Electric Counterpoint II. Slow (3:22)
06. Electric Counterpoint III. Fast (4:30)
Disc 11 - The Four Sections
01. The Four Sections I. Strings (with Winds and Brass) (11:25)
02. The Four Sections II. Percussion (2:30)
03. The Four Sections III. Winds and Brass (with Strings) (5:54)
04. The Four Sections IV. Full Orchestra (6:26)
05. Music for Mallet Instruments, Voices and Organ (16:50)
Disc 12 - The Cave
01. The Cave, Act 1 I. Typing Music (Genesis XVI) (2:59)
02. The Cave, Act 1 II. Who Is Abraham (1:33)
03. The Cave, Act 1 III. Genesis XII (2:19)
04. The Cave, Act 1 IV. Who Is Sarah (3:06)
05. The Cave, Act 1 V. Who Is Hagar (2:38)
06. The Cave, Act 1 VI. Typing Music Repeat (1:14)
07. The Cave, Act 1 VII. Who Is Ishmael (4:42)
08. The Cave, Act 1 VIII. Genesis XVIII (2:33)
09. The Cave, Act 1 IX. Who Is Isaac (4:57)
10. The Cave, Act 1 X. Genesis XXI (2:37)
11. The Cave, Act 1 XI. The Casting Out of Ishmael and Hagar (5:26)
12. The Cave, Act 1 XII. Machpelah Commentary (3:28)
13. The Cave, Act 1 XIII. Genesis XXV (1:21)
14. The Cave, Act 1 XIV. Interior of the Cave (4:30)
15. The Cave, Act 2 I. Surah 3 (4:42)
Disc 13 - The Cave II
01. The Cave, Act 2 II. Who Is Ibrahim (4:27)
02. The Cave, Act 2 III. Who Is Hajar (3:55)
03. The Cave, Act 2 IV. The Near Sacrifice (5:05)
04. The Cave, Act 2 V. El Khalil Commentary (5:18)
05. The Cave, Act 2 VI. Interior of the Cave (3:47)
06. The Cave, Act 3 I. Who Is Abraham (6:30)
07. The Cave, Act 3 II. Who Is Sarah (4:23)
08. The Cave, Act 3 III. Who Is Hagar (4:40)
09. The Cave, Act 3 IV. Who Is Ishmael (4:05)
10. The Cave, Act 3 V. The Binding of Isaac (4:28)
11. The Cave, Act 3 VI. The Cave of Machpelah (8:45)
Disc 14 - Proverb, Nagoya Marimba, City Life
01. Proverb - Theatre Of Voices (14:09)
02. Nagoya Marimba (4:36)
03. City Life I. Check It Out (5:51)
04. City Life II. Pile Driver - Alarms (3:54)
05. City Life III. It's Been A Honeymoon - Can't Take No Mo (4:47)
06. City Life IV. Heartbeats - Boats & Buoys (3:59)
07. City Life V. Heavy Smoke (4:43)
Disc 15 - Triple Quartet
01. Triple Quartet First Movement (7:11)
02. Triple Quartet Second Movement (4:05)
03. Triple Quartet Third Movement (3:33)
04. Electric Guitar Phase (15:21)
05. Music for Large Ensemble (14:58)
06. Tokyo-Vermont Counterpoint (9:05)
Disc 16 - Three Tales
01. Three Tales, Act 1 - Hindenburg Nibelung Zeppelin (3:19)
02. Three Tales, Act 1 - Hindenburg A Very Impressive Thing To See (2:35)
03. Three Tales, Act 1 - Hindenburg I Couldn't Understand It (5:20)
04. Three Tales, Act 2 - Bikini In the Air - 1 (1:24)
05. Three Tales, Act 2 - Bikini The Atoll - 1 (1:46)
06. Three Tales, Act 2 - Bikini On The Ships - 1 (2:46)
07. Three Tales, Act 2 - Bikini In The Air - 2 (1:54)
08. Three Tales, Act 2 - Bikini The Atoll - 2 (2:28)
09. Three Tales, Act 2 - Bikini On The Ships - 2 (2:44)
10. Three Tales, Act 2 - Bikini In The Air - 3 (1:58)
11. Three Tales, Act 2 - Bikini The Atoll - 3 (2:48)
12. Three Tales, Act 2 - Bikini On The Ships - 3 (2:16)
13. Three Tales, Act 2 - Bikini Coda (2:17)
14. Three Tales, Act 3 - Dolly Cloning (2:45)
15. Three Tales, Act 3 - Dolly Dolly (1:53)
16. Three Tales, Act 3 - Dolly Human Body Machine (6:13)
17. Three Tales, Act 3 - Dolly Darwin (4:04)
18. Three Tales, Act 3 - Dolly Interlude (0:31)
19. Three Tales, Act 3 - Dolly Robot Cyborgs Immortality (10:37)
Disc 17 - You Are (Variations)
01. You Are (Variations) I. You Are Wherever Your Thoughts Are (13:14)
02. You Are (Variations) II. Shiviti hashem l'negdi (I Place the Eternal Before Me) (4:15)
03. You Are (Variations) III. Explanations Come to an End Somewhere (5:24)
04. You Are (Variations) IV. Ehmor m'aht, v'ahsay harbay (Say Little and Do Much) (4:05)
05. Cello Counterpoint (11:31)
Disc 18 - Daniel Variations
01. Daniel Variations I. I Saw a Dream (6:24)
02. Daniel Variations II. My Name Is Daniel Pearl (I'm a Jewish American From Encino California) (8:23)
03. Daniel Variations III. Let the Dream Fall Back on the Dreaded (4:43)
04. Daniel Variations IV. I Sure Hope Gabriel Likes My Music, When the Day Is Done (10:10)
05. Variations for Vibes, Pianos and Strings I. Fast (11:35)
06. Variations for Vibes, Pianos and Strings II. Slow (6:52)
07. Variations for Vibes, Pianos and Strings III. Fast (3:34)
Disc 19 - Double Sextet, 2x5
01. Double Sextet I. Fast (8:39)
02. Double Sextet II. Slow (6:43)
03. Double Sextet III. Fast (6:56)
04. 2x5 I. Fast (10:12)
05. 2x5 II. Slow (3:12)
06. 2x5 III. Fast (7:08)
Disc 20 - WTC 911, Mallet Quartet, V
01. WTC 9/11 I. 9/11 (3:40)
02. WTC 9/11 II. 2010 (7:27)
03. WTC 9/11 III. WTC (4:46)
04. Mallet Quartet I. Fast (6:47)
05. Mallet Quartet II. Slow (3:10)
06. Mallet Quartet III. Fast (4:47)
07. Dance Patterns (6:10)
Disc 21 - Radio Rewrite
01. Electric Counterpoint I. Fast (6:51)
02. Electric Counterpoint II. Slow (3:22)
03. Electric Counterpoint III. Fast (4:31)
04. Piano Counterpoint (13:47)
05. Radio Rewrite I. Fast (3:52)
06. Radio Rewrite II. Slow (3:23)
07. Radio Rewrite III. Fast (3:21)
08. Radio Rewrite IV. Slow (3:53)
09. Radio Rewrite V. Fast (3:01)
Disc 22 - Pulse, Quartet
01. Pulse (14:26)
02. Quartet I. Fast (6:46)
03. Quartet II. Slow (3:59)
04. Quartet III. Fast (5:54)
Disc 23 - Runner, Music For Ensemble and Orchestra
01. Runner I. Sixteenths (4:30)
02. Runner II. Eighths (1:27)
03. Runner III. Quarters (2:10)
04. Runner IV. Eighths (2:33)
05. Runner V. Sixteenths (5:00)
06. Music for Ensemble and Orchestra I. Sixteenths (4:59)
07. Music for Ensemble and Orchestra II. Eighths (3:13)
08. Music for Ensemble and Orchestra III. Quarters (2:24)
09. Music for Ensemble and Orchestra IV. Eighths (3:46)
10. Music for Ensemble and Orchestra V. Sixteenths (5:23)
Disc 24 - Reich Richter
01. Opening (9:09)
02. Patterns & Scales (10:03)
03. Cross Fades (12:53)
04. Ending (4:37)
Disc 25 - Jacob's Ladder, Traveler's Prayer
01. Jacob's Ladder I. Genesis (4:06)
02. Jacob's Ladder II. Vayachalom (And He Dreamed) (2:27)
03. Jacob's Ladder III. V'hinei, Sulam Mutzav Artza (And Behold, A Ladder Set Up On The Earth) (3:20)
04. Jacob's Ladder IV. V'rosho Magia Hashamayima (And Its Top Reached Heaven) (3:41)
05. Jacob's Ladder V V'hinei, Malachei Elokim Olim V'yordim Bo (And Behold, Messengers Of G-d Ascending And Descending On It) (5:35)
06. Traveler's Prayer (12:32)
Disc 26 - Music For 18 Musicians
01. Music for 18 Musicians Pulses (5:23)
02. Music for 18 Musicians Section I (4:19)
03. Music for 18 Musicians Section II (4:26)
04. Music for 18 Musicians Section III A (3:56)
05. Music for 18 Musicians Section III B (4:05)
06. Music for 18 Musicians Section IV (4:59)
07. Music for 18 Musicians Section V (5:24)
08. Music for 18 Musicians Section VI (4:37)
09. Music for 18 Musicians Section VII (3:43)
10. Music for 18 Musicians Section VIII (3:46)
11. Music for 18 Musicians Section IX (4:25)
12. Music for 18 Musicians Section X (1:33)
13. Music for 18 Musicians Section XI (4:08)
14. Music for 18 Musicians Pulses (4:33)
Nonesuch Records releases Steve Reich Collected Works, a 23-disc box set featuring music recorded during his 40 years on the label. The collection represents six decades of Reich’s compositions, ranging from It’s Gonna Rain (1965) to first recordings of his two latest works: Jacob’s Ladder (2023) and Traveler’s Prayer (2020). Two extensive booklets contain new essays by longtime Nonesuch President Robert Hurwitz, conductor Michael Tilson Thomas, Steve Reich and Musicians percussionist Russell Hartenberger, producer Judith Sherman, and composer Nico Muhly, as well as a comprehensive listener’s guide by pianist and composer Timo Andres.
Nonesuch made its first record with Steve Reich in 1985. He was signed exclusively to the label that year, and since then the company has released 22 all-Reich albums, two retrospectives, and two remix releases. Among his many honours, two of Reich’s Nonesuch records, Different Trains and Music for 18 Musicians, won Grammy Awards and his Double Sextet recording for the label won a Pulitzer Prize.
“I first heard Music for 18 Musicians when I was in my mid-twenties, at a moment when I was still in the process of figuring out my own taste in contemporary music. I wasn’t yet certain what modern classical music really meant, nor was I sure how it stacked up against work from the past.” Hurwitz says in his liner note. “Music for 18 Musicians was an event of such immense importance that it changed how I felt not only about Steve, but about minimalism, modernism and, in some respects, classical music. Music for 18 was a piece that could sweep listeners up with its non-stop kinetic activity, its opulent sound, its rhythmic invention, its stunning architecture. But only years later did I recognize what drew me in to such an intense degree: it was harmony.
“Here were the kinds of colors and voicings I loved in the earlier twentieth-century music of Stravinsky and Bartók and others, but had found missing in practically all of the new music I had been hearing for years. It was the key that unlocked the music of modern times for me,” Hurwitz continues. “It now seemed possible to love contemporary music. With Music for 18 Musicians, Steve suddenly flung open a door to the possibilities of what a modern composer could be in our time.”
Reich also has become a significant mentor of the younger generation of American composers. “This music is as part of my artistic ecosystem as air is to my respiratory system, and I can’t imagine saying anything about it which wouldn’t somehow get its importance wrong,” composer Nico Muhly says in his liner note. “Steve once told me that the trick is to ‘find your band’, the group of instruments that form the core of your musical language, and this is advice I pass on to all younger composers who cross my path.”
Composer and pianist Timo Andres adds, “It is Steve Reich, perhaps more than any other musician, who prefigured our ideas of a twenty-first- century composer... For audiences, too, Reich has proven that contemporary music can thrive outside the insular world of its own practitioners.
“On initial approach, Reich’s music appears both friendly and a little forbidding, its surfaces immaculate, polished, yet also playful and viscerally beautiful... It exudes a specific kind of energy in live performance as well,” he continues. “Watching an ensemble play Music for 18 Musicians, for example, one has the sense of observing a utopian society in miniature, a mass of people working towards a common goal with no apparent leader.”
Steve Reich has been called ‘the most original musical thinker of our time’ (New Yorker) and ‘among the great composers of the century’ (New York Times). Starting in the 1960s, his pieces It’s Gonna Rain, Drumming, Music for 18 Musicians, Tehillim, Different Trains, and many others helped shift the aesthetic center of musical composition worldwide away from extreme complexity and towards rethinking pulsation and tonal attraction in new ways. He continues to influence younger generations of composers and mainstream musicians and artists all over the world.
In addition to his Grammy Awards and Pulitzer Prize, Reich received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the Golden Lion at the Venice Biennale, the BBVA Foundation Frontiers of Knowledge award in Madrid, the Debs Composer’s Chair at Carnegie Hall, and the Gold Medal in Music from the American Academy of Arts and Letters. He has been named Commandeur de l’Ordre des Arts et des Lettres in France, and awarded honorary doctorates by the Royal College of Music in London, the Juilliard School in New York, and the Liszt Academy in Budapest, among others.
One of the most frequently choreographed composers, several noted choreographers have created dances to his music, including Anne Teresa de Keersmaeker, Jirí Kylián, Jerome Robbins, Justin Peck, Wayne McGregor, Benjamin Millepied, and Christopher Wheeldon.
Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – opened new directions for music theater and have been performed on four continents. His work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint, followed by the London Sinfonietta performing his Music for 18 Musicians.
Nonesuch made its first record with Steve Reich in 1985. He was signed exclusively to the label that year, and since then the company has released 22 all-Reich albums, two retrospectives, and two remix releases. Among his many honours, two of Reich’s Nonesuch records, Different Trains and Music for 18 Musicians, won Grammy Awards and his Double Sextet recording for the label won a Pulitzer Prize.
“I first heard Music for 18 Musicians when I was in my mid-twenties, at a moment when I was still in the process of figuring out my own taste in contemporary music. I wasn’t yet certain what modern classical music really meant, nor was I sure how it stacked up against work from the past.” Hurwitz says in his liner note. “Music for 18 Musicians was an event of such immense importance that it changed how I felt not only about Steve, but about minimalism, modernism and, in some respects, classical music. Music for 18 was a piece that could sweep listeners up with its non-stop kinetic activity, its opulent sound, its rhythmic invention, its stunning architecture. But only years later did I recognize what drew me in to such an intense degree: it was harmony.
“Here were the kinds of colors and voicings I loved in the earlier twentieth-century music of Stravinsky and Bartók and others, but had found missing in practically all of the new music I had been hearing for years. It was the key that unlocked the music of modern times for me,” Hurwitz continues. “It now seemed possible to love contemporary music. With Music for 18 Musicians, Steve suddenly flung open a door to the possibilities of what a modern composer could be in our time.”
Reich also has become a significant mentor of the younger generation of American composers. “This music is as part of my artistic ecosystem as air is to my respiratory system, and I can’t imagine saying anything about it which wouldn’t somehow get its importance wrong,” composer Nico Muhly says in his liner note. “Steve once told me that the trick is to ‘find your band’, the group of instruments that form the core of your musical language, and this is advice I pass on to all younger composers who cross my path.”
Composer and pianist Timo Andres adds, “It is Steve Reich, perhaps more than any other musician, who prefigured our ideas of a twenty-first- century composer... For audiences, too, Reich has proven that contemporary music can thrive outside the insular world of its own practitioners.
“On initial approach, Reich’s music appears both friendly and a little forbidding, its surfaces immaculate, polished, yet also playful and viscerally beautiful... It exudes a specific kind of energy in live performance as well,” he continues. “Watching an ensemble play Music for 18 Musicians, for example, one has the sense of observing a utopian society in miniature, a mass of people working towards a common goal with no apparent leader.”
Steve Reich has been called ‘the most original musical thinker of our time’ (New Yorker) and ‘among the great composers of the century’ (New York Times). Starting in the 1960s, his pieces It’s Gonna Rain, Drumming, Music for 18 Musicians, Tehillim, Different Trains, and many others helped shift the aesthetic center of musical composition worldwide away from extreme complexity and towards rethinking pulsation and tonal attraction in new ways. He continues to influence younger generations of composers and mainstream musicians and artists all over the world.
In addition to his Grammy Awards and Pulitzer Prize, Reich received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the Golden Lion at the Venice Biennale, the BBVA Foundation Frontiers of Knowledge award in Madrid, the Debs Composer’s Chair at Carnegie Hall, and the Gold Medal in Music from the American Academy of Arts and Letters. He has been named Commandeur de l’Ordre des Arts et des Lettres in France, and awarded honorary doctorates by the Royal College of Music in London, the Juilliard School in New York, and the Liszt Academy in Budapest, among others.
One of the most frequently choreographed composers, several noted choreographers have created dances to his music, including Anne Teresa de Keersmaeker, Jirí Kylián, Jerome Robbins, Justin Peck, Wayne McGregor, Benjamin Millepied, and Christopher Wheeldon.
Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – opened new directions for music theater and have been performed on four continents. His work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint, followed by the London Sinfonietta performing his Music for 18 Musicians.
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