We spoke with Ethan Burke (MM ’27), a current Contemporary Performance Program student, about this piece, what’s he’s learned throughout this process as the clarinet 1 part, and his time at MSM so far.
Ethan Burke (MM ’27) is a versatile clarinetist from Orlando, Florida studying under the tutelage of David Krakauer. Ethan’s musical studies are focused on contemporary classical and Brazilian choro, and he has premiered several works in both genres. He has performed in many prestigious venues worldwide including Madison Square Garden, Times Square, and the Dr. Phillips Center. Ethan earned his Bachelor of Music in Clarinet Performance and Bachelor of Arts in Computer Science from Florida State University (FSU), where he performed in many ensembles and directed FSU’s Brazilian music ensemble, Grupo Jaraguá. Ethan led Grupo Jaraguá to perform at major Tallahassee venues and record an EP. Ethan also brings a strong technical background and is pursuing a Master of Science in Data Analytics at Georgia Tech. He currently works at the Orto Center at Manhattan School of Music where he continues to blend his expertise in technology with music.
Ethan: Music for 18 Musicians is an hour-long piece by minimalist composer Steve Reich, and is one of his most important works. It was first performed in New York City in 1976, 50 years ago. The piece was composed with no formal score, and parts were made with specific musicians in mind who performed mostly by memory. Because of this, the piece could only be performed by those musicians until 1997, when Marc Mellits transcribed the original 1976 recording of the piece. This transcription was published by Boosey & Hawkes in 2000, leading to several other performances of the piece worldwide.
Music for 18 Musicians mixes classical techniques with African drumming (such as Atsiagbekor bell patterns), jazz, and pop, and has inspired many musicians across a wide span of genres and generations. The piece borrows greatly from his other works. The main melodies of the piece use the same rhythm as Clapping Music. Many of the piano melodies borrow directly from Violin Phase.
The original name of the piece was slated to be Music for 18 Musicians and Singers. However, the singers of the group protested, saying that they, too, are musicians, and the title was shortened to Music for 18 Musicians. For the piece to be played with 18 musicians, some of the singers and pianists need to double on instruments like xylophone and vibraphone, so the piece is often played with more people, up to 22.
The piece is structured in 11 sections, surrounded by two nearly identical “Pulses” sections. In general, each section builds up a melody gradually, starting with a short, abbreviated version of the full melody. This melody is then gradually expanded, culminating with a pulses section over the full melody. The melody then deconstructs and fades out completely before the next section. The instrumentation of the piece is as follows:
Three marimbas, two xylophones, vibraphone, maracas, violin, cello, two clarinets doubling on bass clarinets, four women’s voices, and four pianos.
Ethan: This year marks Steve Reich’s 90th birthday, and the 50th anniversary of the piece. Alan Pierson, artistic director and conductor of Alarm Will Sound, spearheaded the idea for Music for 18 Musicians to be performed at the Park Avenue Armory by multiple generations of musicians: The Steve Reich Band, Alarm Will Sound, and Tactus at Manhattan School of Music. Each performance of the program from October 14th-18th will feature all three ensembles performing Music for 18 Musicians separately with variations in the staging, hence the title of the program: Staged Variations: Music for 18 Musicians. In addition to the music, there will be costumes and an incredible light spectacle; audience members will be able to sit on the ground on the same level as the musicians during the performance for a fully immersive experience.
The program starts with the Steve Reich Band playing Music for 18 Musicians in its original form. Then, following a transition featuring a new piece (composed and performed for this event) by Caroline Shaw, Tactus takes the stage, featuring current students, alumni and close friends of the Contemporary Performance department at Manhattan School of Music.
Tactus’s role in the concert is quite extraordinary. Our run of the piece is done completely from memory, with choreography, for the full length of the hour-long piece. Since Tactus’s February performance of Music for 18 Musicians, we have been putting in many hours developing and rehearsing the music and choreography with Alan Pierson and choreographer John Heginbotham. The product of this collaboration gives the audience clear insight on how the performers collaborate and pass around ideas to make the music. The choreography, along with the lighting, tells a new story around the piece, taking inspirations from things like the movie Pitch Black, and Angels of Death.
Finally, we transition from Tactus into Alarm Will Sound’s unique take on the piece. Their costuming, lights and movements are incredibly interesting, and I can’t wait to see it all come together!
Ethan: I am one of two clarinets/bass clarinets in the ensemble, the other being CPP alumnus Tyler Neidermayer. Our role musically in the piece is to play the melodies and pulses of the piece, along with the vocalists and strings.
My role in this is particularly challenging, as I have the clarinet 1 role, meaning I am personally responsible for most of the cues in the piece (of which there are several). Memorizing all these cues means not only knowing my part by heart, by everyone else’s as well. It also means I’m personally responsible for most of the pacing in the piece, and there are many moments where cuing someone too early could mean ruining someone’s phrase or causing a total trainwreck. Memorizing my part, everyone’s cues, everyone’s parts for when they need to be cued, and my choreography, all while doing my best to play in time, in tune, learn how to use an in-ear monitor, and not trip over audience members who are paying $100 to be there during my choreography was quite a lot of pressure, especially as one of the youngest members of the ensemble! I managed to get through it all in one piece, though, but it was quite the journey — I learned A LOT. I cannot thank the people in Tactus, as well as Alan, John, and the folks at the Park Avenue Armory enough for believing in me and getting me what I needed during this whole process!
The stage for Tactus’s performance is set up in a big circle. In the center are the performers who maintain the pulse for most of the piece. This role is held primarily by the marimbas, but also at times by xylophones, pianos, and even maracas! On the outside of the circle are “stations” containing the instruments needed for each major section of the piece. Most have a piano and a marimba. The mobile players (clarinets, strings, voices) move via choreography between these stations as the piece progresses, and by the end will have completed a full circle, returning to their original positions where they started the piece. Working with John when creating the choreography was a great experience, and everyone got to have some input! There may be some salsa dancing in our performance that may or may not have started with me…
Ethan: On the surface, Music for 18 Musicians looks like a very straightforward piece that isn’t particularly challenging. However, the difficulty of the piece lies primarily in the logistics of performing it. The amount of interaction that happens between the performers at every section of the piece is unlike anything I’ve ever experienced. Firstly, the order in which people enter in certain phrases is very important, and the score is very dense in this regard, meaning much of the rehearsal time will be spent just figuring out who plays where. Secondly, since many people are playing multiple instruments, “piano 4,” might mean a different person depending on where you’re at in the piece, and the piano that is playing the piano 4 part might not be the same either! Figuring out these things will take up most of the musical rehearsal time.
“Having control over my own learning while still being held to the high standards of an MSM student is exactly what I need. The care and attention the program Artistic Directors, Matt Ward and Erin Rogers, put into every student is so special, and unlike any other program at any other conservatory.” Ethan Burke (MM ’27), Contemporary Clarinet
“Having control over my own learning while still being held to the high standards of an MSM student is exactly what I need. The care and attention the program Artistic Directors, Matt Ward and Erin Rogers, put into every student is so special, and unlike any other program at any other conservatory.”
Ethan Burke (MM ’27), Contemporary Clarinet
Ethan: As I was nearing the end of my Bachelor’s degree at Florida State University, I knew I wanted to continue my studies in music, but I always knew I wanted to expand my studies to include more modern music and world music. I knew that if I moved to New York, I would get to meet many very talented musicians who would push me to be better. I also knew I would receive a ton of amazing performance opportunities that would motivate me as well. Along with an exceptional teacher for me, David Krakauer, CPP at MSM was a perfect match!
I was very skeptical when applying to the program. I knew I wanted something different, but “contemporary music” can include so much, and while I was a big fan of some, I was hardly a fan of all of it. However, after meeting with the program directors, some current students, and alumni of the program, I realized that they were all awesome people! CPP’s alumni base is incredibly tight knit, and their achievements are very impressive. This, along with seeing some of the music I would get to perform, the amount I get to craft my own program, and the professional development opportunities included really excited me, and I decided to attend!
Ethan: Everything that I listed previously about the program still holds true even going into my second year of the program. Having control over my own learning while still being held to the high standards of an MSM student is exactly what I need. The care and attention the program Artistic Directors, Matt Ward and Erin Rogers, put into every student is so special and unlike any other program at any other conservatory. The resources we have at our disposal through the CPP studio, the CPP faculty, the composition department, and the CPP alumni base are very powerful as well. The students in CPP also gain rehearsal and arrangement skills that you won’t see in the classical department, as we largely run our own rehearsals.
Ethan: I wouldn’t choose to swap with anyone if given the opportunity, as this experience has led to so much growth for me as a musician and a person. However, Jon Collazo gets to run around the room with the maracas during the peak energy moment of the performance, and that’s really awesome. So, if I had to switch, I’d totally want to do that!
Tactus Ensemble, Fall 2026
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