Works: 1965-1995

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

Unlike the other works in this set, several movements of The Cave from the original release were omitted. The omitted movements are:

• The Cave, Act 1: III. Genesis XII
• The Cave, Act 1: IV. Who Is Sarah?
• The Cave, Act 1: V. Who Is Hagar?
• The Cave, Act 1: VI. Typing Music Repeat
• The Cave, Act 1: IX. Who Is Isaac?
• The Cave, Act 2: II. Who Is Ibrahim?
• The Cave, Act 2: III. Who Is Hajar?
• The Cave, Act 2: IV. The Near Sacrifice
• The Cave, Act 2: VI. Interior of the Cave

The complete work can be found on the separate Nonesuch Records release of The Cave (Disc 1 Disc 2).

SubOptimal Credits

• Material for Act 1 was recorded in May and June 1989 in West Jersalem and Hebron.
• Material for Act 2 was recorded in June 1989 in East Jersalem and Hebron.
• Material for Act 3 was recorded in April and May 1992 in New York City and Austin.
• Ephraim Isaac's other vocal AR credit is for plainsong chant.
• Sheikh Dahoud Atalah's other vocal AR credit is for plainsong chant.
• Beryl Korot created the libretto for this work. As this is an audio-visual work, some of the libretto was presented visually, not audibly, notably in Act 1, movements I and XIII, as well as Act 2, movement I.
• Andy Grassi's ARs for "additional mixer" ought to be "assistant mixer".
• Yvonne Yedibalian's ARs for "additional engineer" ought to be "assistant engineer".

Attributed for a vocal part, but specific track(s) not indicated:

• Cheryl Bensman Rowe (Soprano)
• Dahoud Atalah (Chant)
• Hugo Munday (Baritone)
• James Bassi (Tenor)
• Marion Beckenstein (Soprano)

Attributed for a speaking part, but specific track(s) not indicated:

• Abdul Latif Bargouthi
• Ann Druyan
• Arthur Danto
• Daniel Berrigan
• Elizabeth Brummett
• Fannie DeBose
• Gabriel Barkai
• Jean Houston
• Khalil Atamna
• Lisa Rogers
• Magen Broschi
• Valerie Davis
• Valerie Steele

As this is an audio-visual work, many video-related and development-support credits are listed in the CD liner, though non-audio related. These are listed here under "miscellaneous role":

• Abdullah Yusuf Ali: Translation
• Assad Busool: Advisor
• Beryl Korot: Videography
• Calvin Chu: Design
• Ephraim Buchwald: Advisor
• Herschel Cohen: Advisor
• John Arnone: Screen Design, Stage Design
• Karina Benznicki: Production Coordination
• Richard Nelson: Lighting Design
• Steve Reich: Translation
• Steven Ehrenberg: Technical Director
• Talal Eid: Advisor
• Todd Bishop: Translation

SubOptimal Credits

• All instrument and voice ARs here ought to be listed as amplified.
• Recorded October 1996 at the Hit Factory New York City, NY, USA.
• Jeanne Velonis' "additional production" ARs ought to be "assistant production".
• Jeanne Velonis' "additional editing" ARs ought to be "assistant editing".
• Chris Hilt's "additional engineer" ARs ought to be "assistant engineer".
• Tony Black's "additional mixed" ARs ought to be "assistant mixed".
• Greg Thompson's "additional mixed" ARs ought to be "assistant mixed".
• Tony Black also ought to be credited for "assistant mix engineer".
• Greg Thompson also ought to be credited for "assistant mix engineer".
• All ARs for vibraphones ought to be for metallophones.

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

SubOptimal Credits

• Steve Reich and Musicians was credited as the Steve Reich Ensemble on track 1 and tracks 3-7.
• Greg Thompson's ARs for "additional engineer" ought to read "assistant engineer".
• Jeanne Velonis's ARs for "additional editor" ought to read "editing assistant".
• Karl Hereim's ARs for "additional editor" ought to read "editing assistant".
• Sidney Chen's miscellaneous role is as "Production Assistant".

SubOptimal Credits

• Robert C. Ludwig mastered tracks 1-4.
• ARs for Greg Thompson, Jim Murray, Takako Furuya, Kevin Stone and Tony Black ought to read assistant engineered, not additionally engineered.
• Jeanne Velonis's ARs ought to read assistant edited, not additionally edited.
• Piano Phase recorded May 1986 at RCA Studio A, New York City, NY, USA.
• Tracks 1, 3, and 4 are AAD recordings.
• Track 2 is a DDD recording.

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

Drumming is a work for 8 small tuned drums, 3 marimbas, 3 glockenspiels, piccolo, soprano and alto (here performed by male and female voices), and whistling, with all instruments and voices amplified.

• Part 1: 4 pairs of tuned bongo drums
• Part 2: 3 marimbas with 9 players, soprano, alto
• Part 3: 3 glockenspiels with 4 players, 1 piccolo
• Part 4: Complete ensemble

SubOptimal Credits

• All ARs for Tuned Percussion ought to be for a tuned small bongo drum.
• Steve Reich's other vocal AR on Part III is for whistling.
• All other vocal ARs are for vocal percussion, voices emulating percussion sounds.

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

SubOptimal Credits

• Robert C. Ludwig mastered track 1.
• Rebecca Armstrong's "other vocal" AR in track 1 ought to read "vocal: Long Tones".
• Jay Clayton's "other vocal" AR in track 1 ought to read "vocal: Melodic Patterns".
• Nurit Tilles' organ AR in track 1 ought to be for "electric organ".
• "Six Marimbas" is a transcription, done by Steve Reich, of his work "Six Pianos".
• Track 3 recorded May 1986 at RCA Studios, New York City, NY, USA.

SubOptimal Credits

• ARs for Greg Thompson, Jim Murray, Takako Furuya, Kevin Stone and Tony Black ought to read assistant engineered, not additionally engineered.
• Jeanne Velonis's ARs ought to read assistant edited, not additionally edited.
• Eight Lines (Octet) is a revised version of Octet.
• Track 1 recorded at the Hit Factory, New York City, NY, USA in June 1996.
• The tambourine AR credits in tracks 2-5 ought to be for four tambourines, without jangles.

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

SubOptimal Credits

• Recorded October 29-30, 1984 at RCA Studio A, New York City, NY, USA.
• William Carlos Williams' lyrics AR credits ought to be libretto AR credits.
• The recording is also credited to "Members of the Brooklyn Philharmonic Orchestra".
• All tracks were mastered by Robert C. Ludwig.
• Julie Rosenfeld performed as first violin and concertmistress.
• Deborah Redding performed as second violin.

SubOptimal Credits

• New York Counterpoint is a work for nine B-flat clarinets and three bass clarinets. Evan Ziporyn plays all 12 parts.
• New York Counterpoint was written for Richard Stoltzman.
• ARs for Greg Thompson, Jim Murray, Takako Furuya, Kevin Stone and Tony Black ought to read assistant engineered, not additionally engineered.
• Jeanne Velonis's ARs ought to read assistant edited, not additionally edited.
• "Drums" ARs on tracks 4-8 ought to be for "Bass Drum".
• "Other Percussion" ARs on tracks 4-8 ought to be for "Tam-tams" and "(Drum) Sticks".
• Robert C. Ludwig mastered tracks 9-12.
• Tracks 9 and 10 specify the quarter note at 80.
• Track 11 specifies the quarter note at 120.
• Track 12 specifies the quarter note at 180.
• Tracks 9-12 edited and mixed at New York Digital Recording, Inc. New York City
• For tracks 1-4, the notes are more specific as to who plays what percussion instruments, but non-specific as to who plays which percussion instruments on which track.
  • Bob Becker: Percussion, Marimba
  • Garry Kvistad: Percussion, Glockenspiel
  • Russ Hartenberger: Percussion, Marimba
  • James Preiss: Percussion, Vibraphone

Disc 1 Disc 2 Disc 3 Disc 4 Disc 5 Disc 6 Disc 7 Disc 8 Disc 9 Disc 10

SubOptimal Credits

• Tracks 1-6 are DDD.
• Tracks 4-6 recorded September 26, 1987 - October 1, 1987 at Power Station, New York City, NY, USA.
• Tracks 1-6 were mastered by Robert C. Ludwig.
• Jennifer Keats' miscellaneous role ARs are for "Production Coordinator".
• Ray Northcott, Simon Carrington, and Frank Ricotti are featured percussionists on tracks 7-9. The breakdown of who played what is not provided, but between them, they play 2 marimbas, 2 vibraphones, and a bass drum.
• Tracks 7 and 9 specify the quarter note at 184.
• Track 8 specifies the quarter note at 92.