Week One: Steve Reich - Vermont Counterpoint

Vermont Counterpoint, written in 1982, is scored for 3 piccolos, 3 flutes and 3 alto flutes and is about 9 minutes. It can also be performed by one amplified player (playing all three instruments) with accompanying tape. The recording I listened to features Ransom Wilsom playing all parts! It's in four sections; (1)fast, (2) fast, (3) not as fast and (4) returning to the original tempo. Each section has it's own tonal center. What really struck me was the abrupt tempo change in section three. It's not jarring but rather like opening a door to a room and thinking you know what you're going to see but finding something different. That brings up the subject of the unexpected in music. I usually find that I like to be surprised when listening, I don't want to be able to predict what's going to happen next. Late Beethoven is a model for this kind of "Oh My God, I can't believe the music just went there!" kind of composing. So coming back to Reich, having only listened to two works, I ask myself if this is surprising music and I'm puzzled because harmonically it's not surprising at all, nor is the very regular background rhythm surprising, nor are the syncopated lines weaving in and out of each other surprising. So why am I captivated by this music? Why am I enjoying it so much? I think the answer might have something to do with an aspect I wrote about yesterday: this music is fast and slow at the same time! So the slow moving harmonies, the regular pulse amidst syncopated layered lines does create something unexpected; simultaneous slow/fast musical energy! And man, does it groove! I am very curious to see if Reich's style changes much. Music for 18 Musicians is a 70's creation while Vermont Counterpoint is from 1982. I look forward to listening to a more recent composition. Any suggestions?