Even down here, they can do it when they pay attention. If a conductor gets on them about it, then the time becomes pretty good. I think it is a matter of priority, and that “emotional connection to rhythm” isn’t at the top of the list for many orchestral players.

When it does happen though, it is so moving. When that many people can really lock up a groove, there is nothing like it.

I hear you on the swimmy orchestral time thing. There’s a reason Steve stopped writing for orchestras. But have you heard Atlanta play Gollijov’s Ainadamar? I’m sure it took some serious rehearsal for them to lock into all those flamenco rhythms, but when it came time to track, they pulled it off brilliantly.

Thanks for the linkage. I think many in the younger generation of classically trained musicians are starting to get it, as well.

Here’s a quote from Steve Reich’s program notes for the Whitney hit:

“These young musicians grew up listening to my works and to that of others of my generation. There’s very little I can tell them regarding how to play my music — they understand it in their very bones. I remember seeing So Percussion play works of mine like Sextet (1984) entirely from memory and being absolutely astounded. There are young ensembles like this around the world, playing my music as I could only dream of having it played. What was new and problematic to many musicians of my generation and older has become just another part of the musical repertoire for these younger players. I feel extremely fortunate.”