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A new work by Steve Reich shared the stage with two Beethoven favorites. While neither composer particularly illuminated the other, they shared their program nicely.

A new collaboration from Gerhard Richter and Steve Reich tantalises and enthralls in London.

An inventive programme frames new music by a genre-defying composer and guitarist in a striking late-night concert.

The midday concert was held a barn designed by the same team who engineered London's Wigmore Hall, and acoustics are as warm and carefully attuned as its modest, appealing interior.

Anne Teresa de Keersmaeker’s epically physical dance Fase, Four Movements to the Music of Steve Reich, opened the month-long event series What the Body Remembers.

A new manifesto for Rambert under new management of Benoit Swan Pouffer. 

London's new Centre for Music has much to learn from the Big Apple's mistakes.

A lifetime of achievement that keeps on giving 

Exemplary performances of classic works by the American minimalist from the London Sinfonietta 

The LSO served up a lively programme of genre-defying UK premières at the Barbican. 

Susanna Mälkki’s choppy, uneven Mahler 5, preceded by a Steve Reich world première. 

With a smaller programme and a humbler premise, the stars of the show – those young, immensely talented performers – could have shone even brighter

Stretching minds and musicians in Manchester Collective’s night of strings and electronics.

The Colin Currie Group offer an involving and scintillating experience of one of America’s great composers as part of the Time Unwrapped series at Kings Place. 

At the Edinburgh Playhouse, choreographer Anne Teresa De Keersmaeker and her dance company Rosas present Rain, set to the music of minimalist composer Steve Reich, for the Edinburgh International Festival.

Rosas’ exhilarating performance of Keersmaeker’s iconic piece

Utilizing bucolic surroundings, Tatiana Koleva and the Youth Percussion Pool produce an immersive concert of rhythmic experiments. 

An electronic extravaganza in a resonant setting adds another dimension to the venerable festival.

Montréal's Theatre Maisonneuve was packed almost to the the gods for the opening night of Rain, performed by renowned Belgian company Rosas. 

Fourteen years after it premiered in Vienna, a razor-sharp revival of Steve Reich's Three Tales still has the power to shock.

Wayne McGregor's triple bill at the Royal Opera House celebrates his 10th year as Resident Choreographer of the Royal Ballet. His insatiable curiosity and driving creativity has brought challenge, change and occasionally controversy to the cornerstone of British ballet.

Five hours of repetitive music on a Sunday evening may be a hellish way for some to end the week; fortunately, I belong in the second category. A concert series named “Steve Reich Unlimited” therefore required no further selling points.

From the ultimate process piece, to a recent video-opera, this central concert of the Barbican's 'Steve Reich at 80' weekend reminded us what the fuss has been all about.

Steve Reich turned 80 last month, and New Yorkers finally pencilled him, between the Greenwich Village Halloween Parade and the daunting presidential election, for big birthday bash at Carnegie Hall.

The Proms left its plush crimson comfort zone of the Royal Albert Hall and headed down to Peckham in south-east London for two concerts of muisc by Steve Reich, given by the Multi-Story Orchestra in a disused car park

A mesmerising all-Reich programme by the Colin Currie Group and Synergy Vocals produced lustrous textures and sonorous tones, culminating in the astonishing Music for 18 Musicians.

The Hungarian Nation Ballet presents a stunning programme in which Kyliàn's Black and White masterpieces are paired with Lander's polished Études. 

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

Gustavo Dudamel, the Los Angeles Philharmonic and Ensemble Signal perform a world première by Steven Mackey and Three Tales by Steve Reich.

Zurich Ballet performs works by three of the twentieth-century's most foregrounding choreographers: Balanchine, Van Manen and Kylián

Colin Currie Group and Synergy Vocals showcase seminal works by Steve Reich: Music for Pieces of Wood (1973), Quartet (2013), & Music for 18 Musicians (1974-76)

In an evening entitled “Pulse: Steve Reich and his influences”, the Aurora Orchestra set out to give three examples of pieces that influenced American minimalist composer Steve Reich alongside performing two of his pieces.

Colin Currie's all Reich programme included a world première, the Quartet for two pianos and two vibraphones, but the newer works were overshadowed by his epic 1985 Sextet.

Steve Reich's 'opus number one', It's Gonna Rain, for magnetic tape, and The Desert Music for chamber ensemble and singers, came together for this Late Night Prom. Both pieces were almost hypnotic, and made for a very intense, but highly satisfying musical experience.

Anna Teresa de Keersmaeker's Fase, Four Movements to the music of Steve Reich, presented as part of the Lincoln Center Festival in New York City.

A rich variety of works by Steve Reich form an enthralling concert from Kristjan Järvi and the MDR Rundfunk orchestra at the Salle Pleyel.

For 24 years, the festival of Dark Music Days has fuelled imagination with contemporary music, thanks to the initiative of the Icelandic Composer’s Union. And with the advent of a glamorous concert hall in the midst of crisis and bankruptcy, the glittering Harpa, the crowds have grown in numbers every year.

Ensemble ACJW performed works by Berio, Reich, and Bartók with conductor David Robertson and soprano Dawn Upshaw at Carnegie Hall's Zankel Hall. This attractively programmed concert featured an admirable first half, though the Bartók left something to be desired.

The centrepiece of Nonclassical’s “Pioneers of Percussion” festival was a rousing marathon of a concert at Scala, a large (mostly) rock venue near King’s Cross. It was a rich, varied, high-energy, happily chaotic affair that lasted into the wee hours of the morning.

The Southbank’s The Rest is Noise continues to draw the crowds, although the promise of Steve Reich himself can’t have made this concert too hard to sell. Reich’s own contribution to this evening, the culmination of a weekend of music and events entitled “Superpower”, was limited to some clapping and letting go of a microphone.

The flute is one of the most venerable musical instruments we have (the earliest archaeological records have been dated to over 35,000 years ago), and as Claire Chase proved Thursday night at The Kitchen in Chelsea, it retains an energy that ensures it will continue to play a vital role in the future of concert music.

The north-Norwegian town of Bodø has a special relationship with trains. Bodø is the last station on the Norwegian rail system, and the construction of the railway that goes between the towns of Trondheim and Bodø is one of the most gruesome stories in modern Norwegian history.

“I want to be able to hear the process happening throughout the sounding music”, Steve Reich wrote in his 1968 essay Music as a Gradual Process. His music of the 1960s, from tape pieces such as It’s Gonna Rain to instrumental works like Piano Phase, employed phasing and looping techniques. These compositions are some of the first examples of both process music and downtown musical minimalism.

Inside Juilliard’s Paul Hall, a splendid spectacle of geometric juxtaposition greets the eyes. The wood-paneled interior is a busy mishmash of thin vertical rectangles and squares of varying sizes, whose right angles are further contrasted by a row of glossy spherical lights on each wall.

On Thursday night, I reviewed the vast forces of National Youth Orchestra, playing big colourful works by European exiles in 1930s America.

The program page for Kronos Quartet’s program at the Cleveland Museum of Art on 18 January was typical of their concerts: a daunting list of mostly unfamiliar composers and every work either written or arranged for Kronos (David Harrington and John Sherba, violins; Hank Dutt, viola; and Jeffrey Zeigler, cello).

Kent Nagano took to the stage tonight, microphone in hand, slowly becoming encircled by a forest of empty music stands, 50 in all. It is only natural to provide a word of explanation for a concert which contained Ligeti’s Fluxus piece Poème symphonique, scored for 100 metronomes, and Reich’s Clapping Music, amidst more standard works.

Kings Place is my new favourite London arts venue. It is the venue of choice for several prominent ensembles, and it is easy to see why. Acoustically fantastic concert halls provide opportunities for all sorts of music in a formal concert setting, whilst the large open spaces allow for more relaxed performances, where the audience can buy drinks, sit down and listen (or not).

A successful performance of Steve Reich’s music requires performers with stamina, a groove, and an audience willing to come along for the ride. The music itself is at its best when Reich layers gesture on top of gesture, creating a complex rhythmic tapestry that can put listeners into a trance and trigger unexpected emotions.

When it comes to new music, the parameters by which we usually observe classical musicians often fade away. In this case we are speaking about eight cellists, and given this program, it would be of little use to comment on the purity of their sound. Tonight’s scores, in fact, frequently required the sound to be pierced and dirty.