April’s session was a jump of some 250 years from Mozart - our last two sessions, to the start of the next classical and ongoing music genre “The Minimalists”. The BBC production in two parts “Tones, Drones and Arpeggios - The Magic of Minimalism” (2018) was shown although we joined in at part 2. Minimalism was also discussed a few years ago in the group when we looked at the closing chapters of the Yale University’s productions of Professor Craig Wright’s courses “Listing to Classical Music”.
Minimalism in music emerged as a distinctive movement during the mid-1950s on the West Coast of the United States, spearheaded by visionary composers such as La Monte Young and Terry Riley. The BBC’s two-part programme “Minimalist” from 2018, hosted by Charles Hazlewood, offers a fascinating insight into this era, featuring all four principal composers—Young, Riley, Philip Glass, and Steve Reich—as guest interviewees. The programme explores how Young and Riley, both Californian natives, began to experiment with radical ideas about sound, repetition, and structure, laying the foundations for what would become a global musical phenomenon.
La Monte Young is often regarded as the father of minimalist composition. His early work was marked by a deep interest in sustained tones and drone-based music, inspired by both Eastern philosophies and jazz improvisation. Young’s pieces, such as “Composition 1960,” were groundbreaking in their use of extended duration and sparse textures, encouraging listeners to focus intently on subtle changes within the music. Terry Riley, meanwhile, brought a more rhythmic and melodic approach to minimalism. His seminal work “In C” (1964) introduced the concept of modular repetition, allowing performers to improvise within a set of patterns, resulting in a hypnotic and ever-evolving soundscape. Riley’s influence spread rapidly, thanks in part to his innovative use of tape loops and electronic instruments, which expanded the expressive possibilities of minimalist music.
As the minimalist movement matured, its epicentre shifted from the West Coast to New York City. This transition marked the arrival of two new voices, Philip Glass and Steve Reich, whose contributions would profoundly shape the genre’s future. Glass, known for his distinctive arpeggiated patterns and cyclical harmonies, brought minimalism into the mainstream with works such as “Einstein on the Beach” (1976) and “Music in Twelve Parts.”(1971-1974). His music, characterised by relentless repetition and subtle gradual change, resonated with audiences far beyond the confines of the avant-garde. Steve Reich, meanwhile, is celebrated for his pioneering techniques involving phase shifting and tape manipulation, exemplified in compositions like “It’s Gonna Rain” (1968) and “Music for 18 Musicians.” (1976) Reich’s exploration of rhythm and pattern, often inspired by African and Indonesian traditions, introduced a vibrant new energy to minimalist music.
Charles Hazlewood’s BBC programme “Minimalist” provides a rare opportunity to hear all four composers reflect on their artistic journeys and the enduring appeal of this music. Through interviews and performance excerpts, Hazlewood draws out the philosophical and cultural influences that shaped their work, as well as the collaborative spirit that united them. The programme underscores how minimalism, initially a radical departure from classical tradition, has become an integral part of contemporary music, influencing generations of artists across genres. Ultimately, the legacy of Young, Riley, Glass, and Reich lies in their shared commitment to innovation, simplicity, and the transformative power of sound.
In addition to the above artists, works by the following were included John Adams - “Short Ride in a Fast Machine” (1986), Mike Oldfield - “Tubular bells” (1977), Nico Muhly interviewee and compositions by him. Other composers and producers in this genre and post- minimalism include Michael Nyman, Max Richter, Henryk Gorecke, John Tavener and Arvo Part.
The session finished with two short videos of Martin Molin’s Wintergatan Marble machines. A hand cranked xylophones or more strictly a metallophone/vibraphone in that it uses metal plates rather than wooden ones and various other percussion instruments, struck by steel balls cascading from various chutes using a belt and peg activation system. The concept based on 18th century clockwork musical automatons.
Report by Phil Johnson