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!!Violin Phase (1967) ---- \|t Durée approximative \|t \|t — 11-15 minutes \| \|t Dates de composition \|t \|t — 1967\| \|t Création \|t \|t — '''1967''' - ''New York, The New School'' - ''(Paul Zukofsky, violin)''\| \|t Dispositif : \|t \|t — pour violon et bande, ou quatre violons{br}—— ''for violin and tape ; or for four violins''\| \|t Éditeur : \|t \|t Universal Edition\| {br}{br} ---- {html} <iframe src="https://archive.org/embed/OTG_1970_06_03" width="500" height="70" frameborder="0" webkitallowfullscreen="true" mozallowfullscreen="true" allowfullscreen></iframe><br><small>RADIO programme — <A HREF="https://fr.wikipedia.org/wiki/KPFA" target="_blank">KPFA-FM, Berkeley, CA</A> ---- (<A HREF="https://en.wikipedia.org/wiki/KPFA" target="_blank">KPFA english version</A>).<br>Steve Reich, Violin Phase with Paul Zukofsky.</small> {/html} ---- \|t \|t \|t {small}{cap}Ode to Gravity: Survival of the Fiddle - Music by Steve Reich & Michael Sahl {br}June 3, 1970{br}{br}Two avant-garde works for violin, played by one of the world’s leading artists, Paul Zukofsky. In a Mitzvah for the Dead (for Violin and Tape), Michael Sahl has written a piece in four movements which recalls tonal music as a possibility for usage in not merely collage snippets, but as an important element basic to the conception of the work. In the second work, Violin Phase by Steve Reich, the composer takes samples of sound and subjects them to a sort of magnification that provides the listener with the opportunity to notice elements that would normally be lost. The entire work is generated out of less than sixty seconds of material. It is suggested that the listener suppress any initial desire to turn it of, but to rather increase the volume, sit comfortably, relax, and let go. Notice the combinations formed by the overlapping of the elements and try to use the experience as a liberating, yet impersonal type of ritual. Paul Zukofsky will assist you in this. {br}{br}— ^[[Source\|https://archive.org/details/OTG_1970_06_03]^]{/cap}{/small}\| ---- {br}{br} ---- {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/Ty_J4wigp4g" frameborder="0" allowfullscreen></iframe> <br><small>London Sinfonietta performing Steve Reich's composition "Violin Phase" at Auditorium Parco della Musica in Roma, Italy, May 2005. <i>. — (<A HREF="https://www.youtube.com/watch?v=Ty_J4wigp4g" target="_blank">Source</A>)</i></small> {/html} [../files/articles/reich/1967_violinphase_score.jpg\|1967_violinphase_score.pdf] {br}{br}— '''^[[Download the full score (pdf)\|https://jeromejoy.org/files/articles/reich/1967_violinphase_score.pdf]^]''' {br} \|t \|t \|t ''In October 1967 Reich completed Violin Phase, a piece which he suggests ‘was basically an expansion and refinement of Piano Phase’ in two ways. Firstly, rather than two voices, there were now four (although Piano Phase also had four at one stage in its evolution, and Reed Phase had three). Secondly, it was in this piece that the possibility of creating new melodies out of the total phasing aggregate produced by the interlocking voices was explored. Reich asserted that these various emergent patterns ‘can be understood as psychoacoustic by-products of the repetition and phase-shifting’ and, in Violin Phase, are ‘pointed out’ by the live violin doubling certain notes within the aggregate. There is some controversy surrounding the early performances of the piece: D. J. Hoek, for example, has the premiere down as April 1969 at the New School, New York. Carman Moore, however, has evidence to suggest otherwise: whilst reviewing this performance in the Village Voice, he wrote that ‘Reich’s Violin Phase was not new to me. I heard it some time ago at the School of Visual Arts, but liked it much better this time under Zukofsky’s reading’. He states that the artist Robert Rauschenberg was ‘responsible for mounting a series of performances at New York’s School of Visual Arts late in 1967, which included the premiere of Violin Phase (a year before Paul Zukofsky’s performance)’. This was the November 1967 concert at which My Name Is: Ensemble Portrait was also premiered. Zukofsky was the first to record Violin Phase, his version being released on the 1968 Columbia Masterworks LP, Steve Reich: Live / Electronic Music (MS 7265), as the A-side to It’s Gonna Rain. Zukofsky’s recorded version lasts just over twenty-three minutes, whereas the version he played at the New School in 1969 lasted ‘a full half hour’, according to Donal Henahan{br}{br}Some members of the audience at a Berkeley performance in 1970 – with Zukofsky as the multi-tracked soloist for a half-hour performance – reacted badly to the piece, according to Los Angeles Times critic John Rockwell. He described the piece favourably as ‘a shifting tapestry of overlapping sounds in which...different aspects of the original tune drift to the surface of one’s awareness’.{br}{br}For Edward Strickland, Violin Phase represents ‘Reich’s first step away from the reductive simplicity of his early minimalist style’, due to its inclusion of indeterminate resulting patterns and its lack of cyclical structure ending in unison.{br}{br}What is perhaps most remarkable about Violin Phase is its structure, and the way performance latitude is built into it. In a move which represents both a departure from Piano Phase and an echo of earlier works such as Melodica, the phasing cycle is not returned to unison. Rather, two separate phasing processes occur which serve to ‘lock’ a particular relationship in for the rest of the piece and which are then used as the basis for a kind of structured improvisation. Reich therefore uses these phasing processes not as ends in themselves, but as means to the production of modal ostinati which are then used as raw material for the creation of new melodies. It is possible to see that both Piano Phase and Violin Phase, even at their most seemingly mechanical, are very carefully composed and thereby contain features which are effectively ‘secrets of structure’, privy only to the composer and not overtly apparent. Within the seemingly restrictive confines of their processes, these pieces actually contain considerable room for subjective manoeuvre, including contingency of perceptual response (due to deliberate ambiguity of metre and tonality), the introduction of human fallibility in performance, and the freedom to choose resulting patterns from an aggregate. Such factors combine to undermine any sense of ‘objective’ or ‘mechanical’ coercion in the music.'' — (Ross Cole)\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Violin Phase'' est une des premières œuvres du compositeur américain Steve Reich écrite en octobre 1967 dans le style de la musique de déphasage pour quatre violons ou un violon et bande magnétique.{br}Composé en octobre 1967, ''Violin Phase'' fait suite à ''Piano Phase'' qui fut sa première composition répétitive pour instrument utilisant le phasage/déphasage. Steve Reich considère que ''Violin Phase'' est "une expansion et un raffinement de ''Piano Phase''". Toutefois ''Violin Phase'' représente une évolution par rapport à la pièce fondatrice de la série puisqu'elle rend plus perceptible pour l'auditeur les « motifs résultants » générés par le principe de phasing des quatre voix, bien qu'ils soient non écrits sur la partition. La pièce est composée pour un violon solo et trois violons enregistrés sur bande magnétique mais doit être préférablement jouée par quatre violons en direct afin de renforcer la densité de la texture et du contrepoint.{br}''Violin Phase'' est écrit dans la tonalité de fa# mineur. L'œuvre commence par la répétition d'un court thème au violon, à laquelle s'ajoute le même motif décalé d'une note en avant, joué soit par un second puis un troisième violon, soit par une bande magnétique pré-enregistrée. Reich développe et enrichi ses compositions en produisant de nouvelles chimères sonores, « sous-produits psycho-acoustiques de la répétition », dépendants de l'attention de l'auditeur et issues de son principe de phasage/déphasage appliqué à quatre voix. La perception de ces motifs résultants est cependant différente d'un auditeur à l'autre selon son attention sur une ligne mélodique dédiée ou sa focalisation acoustique sur un plan sonore donné à la manière des perceptions visuelles des jeux d'illusions optiques.{br}L'exécution de l'œuvre dure environ 15 minutes. - {small}^[[Source (wikipedia)\|https://fr.wikipedia.org/wiki/Violin_Phase]^]{/small} \| {br}{br} '''Études / Studies''' * '''[Will Jung — The Aural Illusions Within Steve Reich's "Violin Phase"\|https://www.academia.edu/7445829/The_Aural_Illusions_Within_Steve_Reichs_Violin_Phase_]''' ---- {br}{br} {br}{br} {br}{br} ----
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