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Customer reviews

4.2 out of 5 stars
8
Wtc 9/11 / Mallet Quartet / Dance Patterns
Format: Audio CD|Change
Price:£14.18+ Free shipping with Amazon Prime

on 1 November 2012
What I mean by 'weirdly enjoyable' is that I enjoy listening to WTC 9/11 even though its theme (post 9/11) isn't one I'd previously associated with pleasantness. I first noticed this weirdness, or perhaps I should say incongruence, when I became aware that my toes were tapping in time with Reich's rhythms and thought that was odd because of the solemnity of the topic. Reich however, has somehow enabled me to experience pleasant thoughts and feelings about this topic once again because it really is an excellent and highly enjoyable piece of music!

Although I adore the music, I'm afraid I can only give this release 4 stars because WTC 9/11 is simply too short. The three movements that comprise WTC 9/11 last less than 15 minutes. For a composer of Reich's ability, this seems frustratingly brief.

As far as the other content goes, the Mallet Quartet is quintessentially Reich. I've yet to play the DVD though, so can't comment on that.
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on 29 November 2015
It's good (wtc) but very short and not up to his older stuff. The other pieces are good but........nothing startling.......
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on 27 February 2017
Ok
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on 11 March 2016
great CD
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on 30 September 2011
The events of WTC 9/11 reverberate strongly with me. The unexpected event of the planes hitting the towers cut mercilessly across the occupations of all living beings at the time. Many lives were ended in that moment or soon after, and many lives changed.

For such a cataclysmic and pivotal event, you might (as Andrew Mellor seems to) expect a similarly huge and important musical commemoration. Steve Reich demonstrates that this is not necessary.

Personally, I find that when the voices of 9/11 reverberate through and become the music, I am stopped in my tracks. The act itself reverberated massively across the world and across our lives with such a negative impact at the time, but here and now in this piece they are transformed into a positive; a thing of beauty requiring the application of skill, understanding and empathy to produce, and a stillness and open-ness to appreciate.

It does not fail. It heals, it begins to negate the negative. The music that comes after it on this recording provides a perfect base for further reflection and absorbtion.
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on 4 September 2016
Out of interest, regarding the BBC reviewer above who continually bemoans how short the piece is, (and the implicit suggestion that brevity cannot genuinely and respectfully honour the hugeness of what happened on 9/11, the following quotation by Reich may help: "“WTC 9/11 is only 15 and a half minutes long. While composing it I often tried to make it longer, and each time it felt that extending its length reduced its impact. The piece wanted to be terse.” ( [...] )

Incidentally, the above article really helped me understand the logistics and structure of the work and its manifold ingredients.

I love the third movement, especially about half-way through when the cello starts weaving an intolerably poignant line and a cantor from a local synagogue starts reciting passages from the Torah.
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on 16 October 2011
I have never reviewed anything at Amazon, but feel impelled to comment here (Steve Reich doesn't need me to "defend" him). I heard a short extract of this at the Nonesuch site and replayed it as often as I could before Nonesuch took it down, and then bought it as soon as I could. Having followed Reich's music for more than thirty years (and initially been a sceptic about the speech-derived music of 'Different Trains' et al), I was immediately struck by both the invention Reich brought to what is an utterly heartfelt response to tragedy, and also by the technical innovations he employs, which I believe take this piece a step on from earlier, similar, works. A more direct comparison would actually be with his earlier 'City Life', which used recordings of the first attempted attack on the WTC, and sections of his and Beryl Korot's 'Three Tales' (especially the chilling "look away" section). The five stars reflect my opinion that Reich is breaking new ground with this piece. However commercially driven their inclusion might have been, the addition of older pieces is a welcome expansion of the available recordings in the Reich canon, and, frankly, saying that the title piece is too short is rather like telling Picasso that he should have added a few more feet of canvas to 'Guernica', or asking Miles Davis to tack another five minutes on to 'Kind of Blue'. It's as long as he wanted it to be.
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on 20 December 2011
GREAT PRODUCT AT A GOOD PRICE WITH FAST DELIVERY. A favourite composer who has written yet another masterpiece for a highly talrnted group.
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