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||Part I||Russ Hartenberger, Bob Becker & James Preiss||24:33||Sólo con álbum||Ver en iTunes|
||Part II||Tim Ferchen, Russ Hartenberger, Steve Reich, Steve Chambers, Cornelius Cardew, Bob Becker, Ben Harms, Glen Velez, Joan La Barbara & Jay Clayton||25:20||Sólo con álbum||Ver en iTunes|
||Part III||Leslie Scott, Glen Velez, Bob Becker, Russ Hartenberger, James Preiss & Steve Reich||15:39||Sólo con álbum||Ver en iTunes|
||Part IV||Leslie Scott, Tim Ferchen, Steve Reich, Steve Chambers, Russ Hartenberger, Glen Velez, Bob Becker, James Preiss, Ben Harms, Cornelius Cardew, Jay Clayton & Joan La Barbara||18:57||Sólo con álbum||Ver en iTunes|
Reseña de álbum
Simply put, Drumming is, along with some of Philip Glass' Einstein on the Beach, one of the most fascinating pieces of first-generation minimalism. The version recorded for Elektra/Nonesuch in 1987 ranks among Reich's masterpieces. The 60-minute continuous work features one basic rhythm pattern. Throughout four segued movements it is multiplied, played in canon on various percussion instruments. "Part I" is for four pairs of tuned bongo drums; "Part II" for three marimbas (played by nine players) and two singers mimicking the sound of marimbas; "Part III" for three glockenspiels, piccolo, and whistling (played by Reich himself); "Part IV" for all previous instruments, including voices. Transitions between movements are gradual, the whole piece being built on accumulation and reduction. When it is time to go to the next movement, players are slowly removed, quarter-notes replaced by rests, in order to make room for the new instruments. The piece almost comes to a complete halt at the end of "Part III," keeping only the most basic pulse before the whole process starts over, building up to the finale. On the original LP, "Part II" faded out before the end, resuming on side two so that the transition between "II" and "III" could be fully experienced. There is a sense of happiness and lightness irradiating from Drumming. It is a perfect example of the paradox of the simple and the complex, the easy and the challenging underlying minimalist music. Both cerebral and vitally tribal or ritualistic, this album is a must-have. ~ François Couture, Rovi