Colin Currie

A pioneer in every sense of the world, the music of Steve Reich has set him apart as one of the most original and influential composers of our time. His works draw from a variety of inspirations, creating a unique sonic experience which succeeds in being both meditative and innovation.  

It was with Reich/Richter that Reich and visual artist Gerhard Richter shattered the barrier between art and music, debuting in 2019 at New York’s The Shed. Now, longtime collaborator and celebrated percussionist, Colin Currie, recreates this landmark show at Brighton Dome on Sun 23 March.  

Described by Steve Reich as ‘one of the greatest musicians in the world today,’ Currie champions new music at the highest level. He regularly works with the world’s leading orchestras including the London Philharmonic, Royal Concertgebouw Orchestra, New York Philharmonic and The Cleveland Orchestra, and is the leader of his own ensemble. We’re delighted he will both perform with and conduct the Brighton Philharmonic in this spellbinding programme.

For the performance at Brighton Dome, Currie and the orchestra will open with the famous Music for Pieces of Wood,  before moving into Reich’s jazzy, perfectly flowing Runner and closes with the elegant collaboration Reich/Richter, mirroring the shimmering lines and gorgeous textures of Richter and Corinna Belz’s film Moving Picture (946-3).

There’s also some work from other New York icons presented in the show. Yoko Ono’s playful Pieces for Orchestra delightfully upends our expectations, and Terry Riley’s Half-Wolf Dances, written for the Kronos Quartet, reflect his passion for North Indian ragas and Middle Eastern scales. John Cage and Lou Harrison’s festive Double Music completes an evening of colour and cool.

As he prepares for this magical evening, we caught up with Colin Currie to find out a bit more about these extraordinary works and the impact of Rech on modern music.

Reich/Richter proved to be one of the most significant cultural happenings of this century, so how exciting is it to be performing for those not lucky enough to experience it in New York?

This work has a unique gravitational pull, with exceptionally finely combined music and visuals. As a result, the audience get to embrace a genuine experience for the senses, hypnotised by the dual elements of the composition. I find the piece to be very uplifting, poignant but also with some very fiery moments.  

What elements will your performance feature?

The music requires extreme precision. Not only for integration with the film (to which I am conducting according to a time code) but due to the subtle rhythmic and harmonic layering of the piece. Certain sections, like the opening, are very grand and dark, brooding, whilst others are bright and brilliant. Our job is to maximise all the emotion of the music, at all times.  

Does it take a high standard of musician to perform these pieces? While they might appear simple, there’s a lot of layering and interesting time signatures.

It takes musicians who are good listeners. This is the key. Balancing Steve Reich’s music is vital, and often you achieve all the power you need by simply being very well balanced. This usually means you don’t even have to play overly loudly, let alone force anything. If the ensemble is truly synced, the music finds its own momentum.  

What kind of influence has Reich exerted over popular and classical music in the last years?

It’s impossible to measure! He is definitely a composer for whom we can say that the vast majority of the public do indeed know his music, even if they are not aware of doing so. Furthermore, what Steve achieved in terms of a cultural statement – in which harmony from jazz and also early music could emerge in new contemporary compositions – has proved to have been of vital and pivotal influence.  

Reich seemed to base a lot of his compositions on techniques from around the world, rather than simply writing everything within a traditional European frame. How much of this contributed towards his reputation as being experimental?

This is true, but I would say that the strongest element of Steve’s experiments came from within, and quite literally from his own experimentation (with tape loops and the development of the ‘phasing’ technique, for example). Many of his early works have a distinctive and rather pointedly avant-garde quality, and those early pieces continue to resonate to this day.  

In addition to Reich, you’re performing works by Teryy Riley and John Cage, how much of an impact do these composers have upon modern music?

John Cage had an enormous sphere of influence in his lifetime as he had the ears, interest and even the trepidation of almost all walks of life in contemporary music. He was impossible to ignore, and the hugely wide-ranging content of his music provided for a colossal number of tastes and sensibilities – as well as having a particular reach as a polemicist.

Terry Riley composed in a different way, and I would refer strongly to his recordings and albums (especially A Rainbow In Curved Air) to understand his importance. Whilst his direct influence on groups like The Who is well documented, I would contest that his influence extends immeasurably beyond even one of the biggest rock groups of all time.  

Obviously, you can now create quite complex arrangements with some simple computer software, so what is it about scores of talented players performing a piece together which is still so powerful?

There is still nothing to compare to an ensemble, of any walk of life, comprising real live musicians integrated in the joint cause of a performance. Each concert is a one-off occurrence and every moment a precious and ephemeral gem. Live music is one of the finest achievements on this planet and like our planet, it needs to be given its rightful value and protection.  

If you were talking to a youngster who’d been inspired by music like this to take up an instrument, what advice would you give them?

Immerse yourself in the music that moves you the most. The more music you embrace, the more you will have to share via your own voice.

Colin Currie and Brighton Philharmonic Orchestra present Steve Reich’s Reich/Richter at Brighton Dome on Sun 23 March 2025.

Find tickets here

www.brightonphil.org.uk  

www.brightondome.org  

Main image by Marco Borggreve

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