Hindenburg disaster
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| - | '''Stephen Michael Reich''' (born [[October 3]], [[1936]]) is an [[American composer]]. He is a pioneer of [[minimalist music|minimalism]], although his music has increasingly deviated from a purely minimalist style. Reich's innovations include using [[tape loop]]s to create [[phasing]] patterns (examples are his early compositions, ''[[It's Gonna Rain]]'' and ''[[Come Out (Reich)|Come Out]]''), and the use of processes to create and explore musical concepts (for instance, ''[[Pendulum Music]]'' and ''[[Four Organs]]''). These compositions, marked by their use of repetitive figures and phasing effects, have significantly influenced [[contemporary music]], especially in America. | ||
| - | ''[[The Guardian]]'' has described Reich as one of the few composers to have "altered the direction of musical history." | + | The '''''Hindenburg'' disaster''' occurred on May 6, 1937, in [[Manchester Township, New Jersey|Manchester Township, New Jersey, United States]]. The German passenger airship [[LZ 129 Hindenburg|LZ 129 ''Hindenburg'']] caught fire and was destroyed during its attempt to dock with its [[mooring mast]] at [[Naval Air Engineering Station Lakehurst|Naval Air Station Lakehurst]]. On board were 97 people (36 passengers and 61 crewmen); there were 36 fatalities (13 passengers and 22 crewmen, 1 worker on the ground). |
| - | On [[25 January]] [[2007]], Steve Reich was named the 2007 recipient of the prestigious [[Polar Music Prize]], together with [[Sonny Rollins]]. | ||
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| - | ==Early life and work== | ||
| - | Steve Reich was born in [[New York City]]. When he was one year old his parents divorced, and Reich divided his time between New York and [[California]]. He was given piano lessons as a child and describes growing up with the "middle-class favorites", having no exposure to music written before 1750 or after 1900. At the age of 14 he began to study music in earnest, after hearing music from the [[Baroque music|Baroque period]] and earlier, as well as music of the 20th century, and he began studying drums with [[Roland Kohloff]] in order to play [[jazz]]. He attended [[Cornell University]]; he took some music courses there, but graduated in 1957 with a [[Bachelor of Arts|B.A.]] in [[philosophy]]. Reich's B.A. thesis was on [[Ludwig Wittgenstein]]; later he would set texts by that philosopher to music in ''[[Proverb (Reich)|Proverb]]'' (1995) and ''You Are (variations)'' (2004). | ||
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| - | For a year following graduation he studied composition privately with [[Hall Overton]] before he enrolled at [[Juilliard School|Juilliard]] to work with [[William Bergsma]] and [[Vincent Persichetti]] (1958 to 1961). Subsequently he attended [[Mills College]] in [[Oakland, California|Oakland]] where he studied with [[Luciano Berio]] (Reich composed a student piece for string orchestra) and [[Darius Milhaud]] (1961–63) and earned a master's degree in composition. | ||
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| - | Reich worked with the [[San Francisco Tape Music Center]] along with [[Pauline Oliveros]], [[Ramon Sender]], [[Morton Subotnick]] and [[Terry Riley]] (he was involved with the premiere of Riley's "In C" and suggested the use of the eighth note pulse which is now standard in performance of the piece). | ||
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| - | ==Process music and Minimalism== | ||
| - | Reich's early forays into composition involved experimentation with [[twelve-tone composition]], but he found the rhythmic aspects of the twelve-tone series more interesting than the melodic aspects. Reich also composed film [[soundtrack]]s for ''[[The Plastic Haircut]]'' and ''[[Oh Dem Watermelons]]'', two films by [[Robert Nelson]]. The soundtrack for ''Oh Dem Watermelons'', composed in 1965, involved basic tape work, using repeated phrasing together in a large five-part [[canon (music)|canon]]. | ||
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| - | Reich was influenced by fellow minimalist [[Terry Riley]], whose loosely structured [[aleatoric music|aleatoric]] work ''[[In C]]'' combines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work, ''[[It's Gonna Rain]]''. Written in 1965, ''It's Gonna Rain'' used recordings of a [[sermon]] about the end of the world given by a black [[Pentecostal]] street-preacher known as Brother Walter. Reich built on his early tape work, transferring the sermon to multiple tape loops played in and out of phase, with segments of the sermon cut and rearranged. | ||
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| - | The 13-minute ''Come Out'' (1966) uses similarly manipulated recordings of a single spoken line given by an injured survivor of a [[race riot]]. The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruise blood come out to show them." Reich rerecorded the fragment "come out to show them" on two channels, which are initially played in unison. They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns. | ||
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| - | A similar example of [[process music]] is ''Pendulum Music'' (1968), which consists of the sound of several microphones swinging over the loudspeakers to which they are attached, producing [[feedback]] as they do so. (''Pendulum Music'' was recorded by [[Sonic Youth]] in the late 1990s.) | ||
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| - | Reich's first attempt at translating this phasing technique from recorded tape to live performance was the 1967 ''[[Piano Phase]]'', for two pianos. In ''Piano Phase'' the performers repeat a rapid twelve-note [[melody|melodic]] figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. ''Violin Phase'', also written in 1967, is built on these same lines. Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composed ''[[Clapping Music]]'' (1972), in which the players do not phase in and out with each other, but instead one performer keeps one line of a 12-quaver-long phrase and the other performer shifts by one [[quaver]] beat every 12 bars, until both performers are back in unison 144 bars later. ''Piano Phase'' and ''Violin Phase'' both premiered in a series of concerts given in New York art galleries. | ||
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| - | ==The 1970s== | ||
| - | The 1967 prototype piece ''[[Slow Motion Sound]]'' was never performed, but the idea it introduced of slowing down a recorded sound until many times its original length without changing pitch or timbre was applied to ''[[Four Organs]]'' (1970), which deals specifically with augmentation. The piece has [[maraca]]s playing a fast [[eighth note]] [[pulse]], while the four organs stress certain eighth notes using an 11th chord. This work therefore dealt with [[repetition]] and subtle rhythmic change. It is unique in the context of Reich's other pieces <!-- how so - "unique"? --> in being linear as opposed to cyclic like his earlier works— the superficially similar ''[[Phase Patterns]]'', also for four organs but without maracas, is (as the name suggests) a phase piece similar to others composed during the period. ''Four Organs'' was performed as part of a [[Boston Symphony Orchestra]] program, and was Reich's first composition to be performed in a large traditional setting. | ||
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| - | In 1971, Reich embarked on a five-week trip to study music in [[Ghana]], during which he learned from the master drummer Gideon Alerwoyie. He also studied Balinese [[gamelan]] in Seattle. From his African experience, as well as [[A. M. Jones]]'s ''Studies in African Music'' about the music of the [[Ewe music|Ewe]] people, Reich drew inspiration for his 90-minute piece ''Drumming'', which he composed shortly after his return. Composed for a 9-piece percussion ensemble with female voices and piccolo, ''Drumming'' marked the beginning of a new stage in his career, for around this time he formed his ensemble, [[Steve Reich and Musicians]], and increasingly concentrated on composition and performance with them. Steve Reich and Musicians, which was to be the sole ensemble to interpret his works for many years, still remains active with many of its original members. | ||
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| - | After ''Drumming'', Reich moved on from the "phase shifting" technique that he had pioneered, and began writing more elaborate pieces. He investigated other musical processes such as [[augmentation]] (the temporal lengthening of phrases and melodic fragments). It was during this period that he wrote works such as ''[[Music for Mallet Instruments, Voices and Organ]]'' (1973) and ''[[Six Pianos]]'' (1973). | ||
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| - | In 1974, Reich began writing what many would call his seminal work, ''[[Music for 18 Musicians]]''. This piece involved many new ideas, although it harked back to earlier pieces. The piece is based around a [[cycle (music)|cycle]] of [[chord progression|eleven chords]] introduced at the beginning, followed by a small piece of music based around each [[chord (music)|chord]], and finally a return to the original cycle. The sections are aptly named "Pulses", Section I-XI, and "Pulses". This was Reich's first attempt at writing for larger ''[[musical ensemble|ensemble]]s''. The increased number of performers resulted in more scope for psycho-acoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". Reich remarked that this one work contained more harmonic movement in the first five minutes then any other work he had written. Reich's recording of the work was the first release in [[ECM Records]]' "New Series". | ||
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| - | Reich explored these ideas further in his frequently recorded pieces ''[[Music for a Large Ensemble]]'' (1978) and ''Octet'' (1979). In these two works, Reich experimented with "the human breath as the measure of musical duration… the chords played by the trumpets are written to take one comfortable breath to perform" (liner notes for ''Music for a Large Ensemble''). Human voices are part of the musical palette in ''Music for a Large Ensemble'' but the wordless vocal parts simply form part of the texture (as they do in ''Drumming''). With ''Octet'' and his first orchestral piece ''[[Variations for Winds, Strings and Keyboards]]'' (also 1979), Reich's music showed influence of Biblical [[Cantillation]], which he had studied in [[Israel]] since the summer of 1977. After this, the human voice singing a text would play an increasingly important role in Reich's music. | ||
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| - | :"The technique […] consists of taking pre-existing melodic patterns and stringing them together to form a longer melody in the service of a holy text. If you take away the text, you're left with the idea of putting together small motives to make longer melodies - a technique I had not encountered before. | ||
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| - | In the late 1970s Reich published a book, ''Writings About Music'', containing essays on his philosophy, aesthetics, and musical projects written between 1963 and 1974. An updated collection, ''Writings On Music (1965–2000)'', was published in 2002. | ||
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| - | ==The 1980s== | ||
| - | Reich's work took on a darker character in the 1980s with the introduction of political themes as well as themes from his [[Jewish]] heritage. ''[[Tehillim (Reich)|Tehillim]]'' (1981), [[Hebrew language|Hebrew]] for ''[[psalm]]s'', is the first of Reich's works to draw explicitly on his Jewish background. The work is in four parts, and is scored for an ensemble of four women's voices (one high [[soprano]], two lyric sopranos and one [[alto]]), [[piccolo]], [[flute]], [[oboe]], [[english horn]], two [[clarinet]]s, six [[percussion]] (playing small tuned [[tambourine]]s without jingles, clapping, [[maraca]]s, [[marimba]], [[vibraphone]] and [[crotales]]), two [[electronic organ]]s, two [[violin]]s, [[viola]], [[cello]] and [[double bass]], with amplified voices, strings, and winds. A setting of texts from psalms 19:2–5 (19:1–4 in Christian translations), 34:13–15 (34:12–14), 18:26–27 (18:25–26), and 150:4–6, ''Tehillim'' is a departure from Reich's other work in its formal structure; the setting of texts several lines long rather than the fragments used in previous works makes melody a substantive element. Use of formal [[counterpoint]] and functional [[harmony]] also contrasts with the loosely structured minimalist works written previously. | ||
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| - | ''[[Different Trains]]'' (1988), for [[string quartet]] and tape, uses recorded speech, as in his earlier works, but this time as a melodic rather than a rhythmic element, following the earlier example of [[Scott Johnson (composer)|Scott Johnson]]'s ''John Somebody'' (1978). In ''Different Trains'' Reich compares and contrasts his childhood memories of his train journeys between New York and California in 1939-1941 with the very different trains being used to transport contemporaneous European children to their deaths under [[Nazism|Nazi]] rule. The [[Kronos Quartet]] recording of ''Different Trains'' was awarded the [[Grammy Award for Best Classical Contemporary Composition]] in 1990. | ||
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| - | ==New directions== | ||
| - | In 1993, Reich collaborated with his wife, the video artist [[Beryl Korot]], on an [[opera]], ''[[The Cave]]'', which explores the roots of [[Judaism]], [[Christianity]] and [[Islam]] through the words of [[Israel]]is, [[Palestinian]]s, and [[United States|America]]ns, echoed musically by the ensemble. The work, for percussion, voices, and strings, is a musical [[Documentary film|documentary]], named for the [[Cave of Machpelah]] in [[Hebron]], where a [[mosque]] now stands and [[Abraham]] is said to have been buried. | ||
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| - | The two collaborated again on the opera ''[[Three Tales (opera)|Three Tales]]'', which concerns the [[Hindenburg disaster]], the testing of [[nuclear weapon]]s on [[Bikini Atoll]], and other more modern concerns, specifically [[Dolly the sheep]], [[cloning]], and the [[technological singularity]]. | ||
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| - | As well as pieces using sampling techniques, like ''Three Tales'' and ''[[City Life (Reich)|City Life]]'' (1994), Reich also returned to composing purely instrumental works for the concert hall, starting with ''Triple Quartet'' (1998) written for the [[Kronos Quartet]] that can either be performed by string quartet and tape, three string quartets or 36-piece string orchestra. According to Reich, the piece is influenced by [[Béla Bartók|Bartók]]'s and [[Alfred Schnittke]]'s string quartets. This series continued with ''Dance Patterns'' (2002), ''Cello Counterpoint'' (2003), and sequence of works centered around Variations: ''You Are (Variations)'' (2004), a work which looks back to the vocal writing of works like ''Tehillim'' or ''The Desert Music'', ''[[Variations for Vibes, Pianos, and Strings]]'' (2005, for the [[London Sinfonietta]]) and ''Daniel Variations'' (2006). | ||
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| - | In a very recent interview with ''[[The Guardian]]'', Reich stated that he continues to follow this direction with a yet unnamed piece commissioned by [[eighth blackbird]], an American ensemble consisting of the instrumental quintet ([[flute]], [[clarinet]], [[violin]] or [[viola]], [[cello]] and [[piano]]) of [[Arnold Schoenberg|Schoenberg]]'s piece ''[[Pierrot Lunaire]]'' (1912) plus percussion. Reich thinks that it will again be with tape, and he also states that he is thinking about Stravinsky's [[Agon]] (1957) as a model for the instrumental writing. | ||
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| - | ==Influence== | ||
| - | Reich's style of composition has influenced many other composers and musical groups, including [[Philip Glass]] (especially his early pieces), [[John Coolidge Adams|John Adams]], the [[prog-rock]] band [[King Crimson]], the new-age guitarist [[Michael Hedges]], the art-pop and electronic musician [[Brian Eno]], the composers associated with the [[Bang on a Can]] festival (including [[David Lang (composer)|David Lang]], [[Michael Gordon (composer)|Michael Gordon]], and [[Julia Wolfe]]), and numerous [[indie rock]] musicians including songwriter [[Sufjan Stevens]] and instrumental ensembles [[The Mercury Program]], [[Tortoise]], [[Do Make Say Think]] and [[A Silver Mt. Zion]].{{Fact|date=July 2007}} [[Godspeed You Black Emperor]] composed a song, unreleased, entitled "Steve Reich".{{Fact|date=July 2007}} His music has also been a source of inspiration to [[ambient music|ambient]] and [[techno music|techno]] musicians. A melodic line from his 1987 work ''[[Electric Counterpoint]]'' was used by [[The Orb]] in their 1991 hit [[Little Fluffy Clouds]]. This connection has been honored in a 1999 album by DJs and electronic musicians, ''Reich Remixed'', released on [[Nonesuch Records]]. | ||
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| - | John Adams commented, "He didn't reinvent the wheel so much as he showed us a new way to ride." | ||
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| - | He has also influenced visual artists such as [[Bruce Nauman]], and has expressed admiration of choreographer [[Anne Teresa De Keersmaeker]]'s work set to his pieces. | ||
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| - | Reich often cites [[Pérotin]], [[Johann Sebastian Bach|J.S. Bach]], [[Claude Debussy|Debussy]] and [[Igor Stravinsky|Stravinsky]] as composers he admires, whose tradition he wished as a young composer to become part of. Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalists [[Ella Fitzgerald]] and [[Alfred Deller]], whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works. [[John Coltrane]]'s style, which Reich has described as "playing a lot of notes to very few harmonies", also had an impact; of particular interest was the album ''[[Africa/Brass]]'', which "was basically a half-an-hour in F." Reich's influence from jazz includes its roots, also, from the West African music he studied in his readings and visit to Ghana. Other important influences are [[Kenny Clarke]] and [[Miles Davis]], and visual artist friends such as [[Sol Lewitt]] and [[Richard Serra]]. | ||
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| - | ==Reich on himself== | ||
| - | :"[...] I drove a cab in [[San Francisco]], and in New York I worked as a part-time social worker. [[Philip Glass|Phil Glass]] and I had a moving company for a short period of time. I did all kinds of odd jobs [...] I started making a living as a performer in my own ensemble. I would never have thought that it was how I was going to survive financially. It was a complete wonder." | ||
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| - | —''From an interview with Gabrielle Zuckerman, 2002''<ref name="Zuckerrman"/>}} | ||
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| - | :'The point is, if you went to Paris and dug up [[Debussy]] and said, 'Excusez-moi Monsieur…are you an impressionist?' he'd probably say 'Merde!' and go back to sleep. That is a legitimate concern of musicologists, music historians, and journalists, and it's a convenient way of referring to me, Riley, Glass, [[La Monte Young]] [...] it's become the dominant style. But, anybody who's interested in French [[Impressionism]] is interested in how different Debussy and [[Maurice Ravel|Ravel]] and [[Satie]] are—and ditto for what's called [[minimalism]]. [...] Basically, those kind of words are taken from painting and sculpture, and applied to musicians who composed at the same period as that painting and sculpture was made [...]". | ||
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| - | —''From an Interview with Rebecca Y. Kim'', 2000 | ||
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| - | :"All musicians in the past, starting with the middle ages were interested in popular music. (...) [[Béla Bartók]]'s music is made entirely of sources from [[Hungarian folk music]]. And [[Igor Stravinsky]], although he lied about it, used all kinds of Russian sources for his early ballets. [[Kurt Weill|Kurt Weill's]] great masterpiece [[Dreigroschenoper]] is using the [[cabaret]]-style of the [[Weimar Republic]] and that's why it is such a masterpiece. [[Arnold Schoenberg]] and his followers (...) create(d) an artificial wall, which never existed before him. In my generation we tore the wall down and now we are back to the normal situation, for example if [[Brian Eno]] or [[David Bowie]] come to me, and if popular musicians remix my music like [[The Orb]] or [[DJ Spooky]] it is a good thing. This is a natural normal regular historical way." | ||
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| - | —''From an Interview with Jakob Buhre'' | ||
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| - | ==Works== | ||
| - | *''[[It's Gonna Rain]]'', tape (1965) | ||
| - | *''[[Come Out (Reich)|Come Out]]'', tape (1966) | ||
| - | *''[[Piano Phase]]'' for two pianos, or two marimbas (1967) | ||
| - | *''[[Slow Motion Sound]]'' ''concept piece'' (1967) | ||
| - | *''[[Violin Phase]]'' for violin and tape or four violins (1967) | ||
| - | *''My Name Is'' for three tape recorders and performers (1967) | ||
| - | *''[[Pendulum Music]]'' for 3 or 4 microphones, amplifiers and loudspeakers (1968) (revised 1973)<ref name="writings">*{{cite book | ||
| - | | last = Reich | ||
| - | | first = Steve | ||
| - | | title = Writings on Music | ||
| - | | publisher = New York University Press | ||
| - | | date = 1975 (New Edition) | ||
| - | | location = USA | ||
| - | | pages = pp. 12-13 | ||
| - | | id = ISBN 0-8147-7357-5 }}</ref> | ||
| - | *''[[Four Organs]]'' for four electric organs and maracas (1970) | ||
| - | *''[[Phase Patterns (Reich)|Phase Patterns]]'' for four electric organs (1970) | ||
| - | *''[[Drumming (Reich)|Drumming]]'' for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, 2 female voices, whistling and piccolo (1970/1971) | ||
| - | *''[[Clapping Music]]'' for two musicians clapping (1972) | ||
| - | *''[[Music for Pieces of Wood]]'' for five pair of tuned claves (1973) | ||
| - | *''[[Six Pianos]]'' (1973) - transcribed as ''[[Six Marimbas]]'' (1986) | ||
| - | *''[[Music for Mallet Instruments, Voices and Organ]]'' (1973) | ||
| - | *''[[Music for 18 Musicians]]'' (1974–76) | ||
| - | *''[[Music for a Large Ensemble]]'' (1978) | ||
| - | *''[[Octet (Reich)|Octet]]'' (1979) - withdrawn in favor of the 1983 revision for slightly larger ensemble, ''[[Eight Lines]]'' | ||
| - | *''[[Variations for Winds, Strings and Keyboards]]'' for orchestra (1979) | ||
| - | *''[[Tehillim (Reich)|Tehillim]]'' for voices and ensemble (1981) | ||
| - | *''[[Vermont Counterpoint]]'' for amplified flute and tape (1982) | ||
| - | *''[[The Desert Music]]'' for chorus and orchestra or voices and ensemble (1984, text by [[William Carlos Williams]]) | ||
| - | *''[[Sextet (Reich)|Sextet]]'' for percussion and keyboards (1984) | ||
| - | *''New York Counterpoint'' for amplified [[clarinet]] and tape, or 11 clarinets (1985) | ||
| - | *''Three Movements'' for orchestra (1986) | ||
| - | *''[[Electric Counterpoint]]'' for electric guitar or amplified acoustic guitar and tape (1987, for [[Pat Metheny]]) | ||
| - | *''The Four Sections'' for orchestra (1987) | ||
| - | *''[[Different Trains]]'' for string quartet and tape (1988) | ||
| - | *''[[The Cave (opera)|The Cave]]'' for four voices, ensemble and video (1993, with [[Beryl Korot]]) | ||
| - | *''Duet'' for two violins and string ensemble (1993) | ||
| - | *''Nagoya Marimbas'' for two [[marimba]]s (1994) | ||
| - | *''[[City Life (Reich)|City Life]]'' for amplified ensemble (1995) | ||
| - | *''[[Proverb (Reich)|Proverb]]'' for voices and ensemble (1995, text by [[Ludwig Wittgenstein]]) | ||
| - | *''[[Triple Quartet]]'' for amplified string quartet (with prerecorded tape), or three string quartets, or string orchestra (1998) | ||
| - | *''Know What Is Above You'' for four women’s voices and 2 [[tamborim]]s (1999) | ||
| - | *''[[Three Tales (opera)|Three Tales]]'' for video projection, five voices and ensemble (1998–2002, with [[Beryl Korot]]) | ||
| - | *''Dance Patterns'' for 2 xylophones, 2 vibraphones and 2 pianos (2002) | ||
| - | *''Cello Counterpoint'' for amplified cello and multichannel tape (2003) | ||
| - | *''[[You Are (Variations)]]'' for voices and chamber orchestra (2004) | ||
| - | *''[[Variations for Vibes, Pianos, and Strings]]'' dance piece for three string quartets, four vibraphones, and two pianos (2005) | ||
| - | *''[[Daniel Variations]]'' for four voices and instruments (2006) | ||
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| - | ==Selected discography== | ||
| - | *''Drumming''. Steve Reich and Musicians (Two recordings: [[Deutsche Grammophon]] and [[Nonesuch]]) So Percussion (Cantaloupe) | ||
| - | *''[[Music for 18 Musicians]]''. Steve Reich and Musicians (Two recordings: [[ECM (record label)|ECM]] and Nonesuch) | ||
| - | *''Music for a Large Ensemble/Octet/Violin Phase''. Steve Reich and Musicians ([[ECM (record label)|ECM]]) | ||
| - | *''Variations for Winds, Strings and Keyboards/Music for Mallet Instruments, Voices and Organ/ Six Pianos''. [[San Francisco Symphony Orchestra]], [[Edo de Waart]], Steve Reich & Musicians (Deutsche Grammophon) | ||
| - | *''Tehillim/The Desert Music''. [[Alarm Will Sound]] and OSSIA, Alan Pierson (Cantaloupe) | ||
| - | *''Different Trains/Electric Counterpoint''. [[Kronos Quartet]], [[Pat Metheny]] (Nonesuch) | ||
| - | *''You Are (Variations)/Cello Counterpoint''. [[Los Angeles Master Chorale]], Grant Gershon, Maya Beiser (Nonesuch) | ||
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| - | ==See also== | ||
| - | *[[Minimalist music]] | ||
| - | *[[Steve Reich and Musicians]] | ||
| - | *[[Phase music]] | ||
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The Hindenburg disaster occurred on May 6, 1937, in Manchester Township, New Jersey, United States. The German passenger airship LZ 129 Hindenburg caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst. On board were 97 people (36 passengers and 61 crewmen); there were 36 fatalities (13 passengers and 22 crewmen, 1 worker on the ground).
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Hindenburg disaster" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
