Quartet, when mentioned in the context of concert music, is generally assumed to mean string
\nquartet. In my case, the quartet that has played a central role in many of my pieces (besides the
\nstring quartet) is that of two pianos and two percussion. It appears like that or in expanded form
\nwith more pianos or more percussion in The Desert Music, Sextet, Three Movements, The Four
\nSections, The Cave, Dance Patterns, Three Tales, You Are (Variations), Variations for Vibes,
\nPianos and Strings, Daniel Variations, Double Sextet, and Radio Rewrite. In Quartet, there is
\njust this group alone: two vibes and two pianos.
\nThe piece is one of the more complex I have composed. It frequently changes key and often
\nbreaks off continuity to pause or take up new material. Though the parts are not unduly difficult,
\nit calls for a high level of ensemble virtuosity.
\nThe form is one familiar throughout history: fast, slow, fast, played without pause. The slow
\nmovement introduces harmonies not usually found in my music.
\nThe piece is dedicated to Colin Currie, a percussionist who has broken the mold by maintaining
\nhis solo career with orchestras and recitals and also, quite amazingly, by founding the Colin
\nCurrie Group which plays whatever ensemble music he believes in. I salute him and hope
\nothers will take note.<\/p>\n
Quartet was co-commissioned by Southbank Centre, Carnegie Hall, The Juilliard School, Cit\u00e9
\nde la musique, and K\u00f6lner Philharmonie \/ K\u00f6lnMusik, and is approximately 17 minutes in
\nduration. \u2014Steve Reich<\/p>\n