Ladies and gentlemen,
Welcome! Today we will start a
conversation about World War II and the Holocaust by listening to excerpts from
twentieth century minimalist composer Steve Reich’s most famous work, Different Trains. The chamber work
involves a live string quartet layered in with audio recordings of real
interviews with Holocaust survivors as well as of real trains from Europe and
North America, recalling the horrors and atrocities of World War II juxtaposed
with the general American emotional impulse about train travel both before and
after the war, a reflection of Steve Reich’s own experiences with train travel
throughout his life.
The work is split into three
movements. In the first movement, “America – Before the War,” rapid and repetitive
strings in their upper register suggest light-hearted motion over long
distances. We will listen to a few minutes from the opening of this movement (1:00
– 2:30). You will hear Reich’s governess Virginia saying “from Chicago to New York”
and “one of the fastest trains.” The low, loud train whistles are almost
nostalgic; they are nonthreatening and create an image of uninhibited locomotion
and progress.
The second movement is entitled “Europe
– During the War.” From the first moment, it is markedly and disturbingly
different from the first movement. We hear sirens along with the much higher,
shriller train whistles this time, and the rhythmic and musical material of the
string quartet is lower and slower, though still pulsating and forward moving,
creating a sense of agitated fear and anticipation. We will listen to the very
beginning of this movement (0:00 – 1:30). You will hear Holocaust survivor
Rachella describing where she was in her life when the war began: “1940 … on my
birthday … the Germans walked in … walked into Holland.” The stark, harsh landscape
of this movement is an extreme contrast from the upbeat nature of the first,
and the inherently exposed sound of the string quartet enhances the feelings of
unease and even terror that pervade the movement.
The final movement, “America –
After the War,” is less upbeat than the first movement and generally far less
tense than the second. It is variously slower and more subdued or quick and
reflective. We will listen to the very end of this movement (7:45 – 10:30). You
will hear the same Holocaust survivor, Rachella, saying “There was one girl who
had a beautiful voice … and they loved to listen to the singing, the Germans …
and when she stopped singing they said, ‘More, more’ and they applauded.” There
is a distinctly mournful, almost regretful atmosphere in this movement.
Different
Trains represents the immense worldwide impact of World War Two and the
Holocaust. In the third movement, we feel the global uncertainty and grief of a
broken postwar world. Reich shows us the far-reaching effect that such
large-scale violence, destruction, and terror can have, and asks us to consider
how the basic components of our lives (like trains) might tie into the context
of global tragedy and fear.
LINKS
Hi Sam, I especially thought your last point was very insightful--about considering how basic components of our lives might tie in to the context of global tragedy and fear.
ReplyDeleteSam, I notice that you mention Reich's compositional style of pulsating minimalism twice. It seems to show in his music, and not only that, but in such a different way between the first and second movement. With this in mind, it makes me read your ending reflection with a powerful implication. Great writing for the context of actually introducing the piece to a group of colleagues or library-goers.
ReplyDeleteVery good intro, Sam. Easy to follow, with well-chosen examples and just enough interest to get your listeners engaged and thinking about the music.
ReplyDeleteSam,
ReplyDeleteI enjoyed all of your examples! Your analysis was well thought out, I just wanted more! The final paragraph was a great look into what you think each section is referring to and how they interplay, I just wanted you to keep going! :)