The idea behind Steve Reich's The Four Sections sprang from a conversation with Michael Tilson Thomas, who suggested that he write a concerto for orchestra. As Reich explains in his insert notes, the idea of a conventional soloist-versus-orchestra concerto had never really appealed to him. However, Tilson Thomas then suggested the idea of interlocking identical instruments within the whole ensemble (in the same way that Reich had been doing for years), and so The Four Sections came into being.
I must admit I enjoyed this piece more than I thought I would. Whilst the ideas behind Reich's music have certainly fascinated me, I wouldn't really class myself as an admirer, but here I warmed to a greater degree of variety (albeit fairly minimal) than one finds in his works such as Six Pianos or Four Organs. The work, as the title suggests, consists of four movements each spotlighting a particular section of the orchestra: first strings (with wind and brass adding long notes), second percussion, third winds and brass (with strings) and finally full orchestra. The first section, ''Strings'' has a haunting, pastoral quality about it, redolent at times of the open-air feeling found in Copland. The second section begins abruptly with two vibraphones antiphonally placed, whose music gradually interlocks into a melodic patter while pianos and drums add syncopated chordal interjections. With the third section (winds and brass) the pace quickens, as Reich begins to tighten the tension and pave the way for the final onslaught of the full orchestra, which knits together all the melodic material derived from the various interlockings of instruments. It's not a masterpiece by any stretch of the imagination, but makes enjoyable listening and would be an ideal introduction for the first-time Reich explorer.
The recording of Music for Mallet Instruments, Voices and Organ is vastly superior to the recordings we've had previously. Reich's earlier version for DG suffers from poor balance, and to my mind the voices have a 'depressed' quality. By complete contrast this new recording has a light, airy, almost jazzy feel to it and the balance seems to me near perfect.
I'm afraid I can't say the same of the new Hungaroton issue by the Amadinda percussion group. Personally I find the sound balance crude to say the least; in Music for Mallet Instruments, Voices and Organ the organ is far too loud and far too bassy, almost totally obscuring the voices, and some instruments are curiously recessed when others are over highlighted. Music for Pieces of Wood is the most successful recording on the disc and it's brilliantly performed, too. When it comes to the Sextet of 1985 I agree with JM when he reviewed Reich's own performance on the Nonesuch label, namely that this is a ''momentarily pleasing but ultimately vapid'' work; its meagre invention far outways its 25-minute duration. It pays lip-service to jazz, particularly in the central episode (which, incidentally, foreshadows the percussion section of Four Sections).
'