Reich and Greenwood met in Krakow in 2010 during a festival of Reich’s music, where Greenwood gave a performance of Electric Counterpoint that its composer liked very much. (Greenwood has since performed it many more times, including during a London tribute to Nonesuch’s 50th anniversary at the Barbican Centre.) Reich says, “When I returned home I made it a point to go online and listen to Radiohead’s music and the two songs mentioned above stuck in my head. It was not my intention to make anything like ‘variations’ on these songs, but rather to draw on their harmonies and sometimes melodic fragments and work them into my own piece. As to actually hearing the original songs, the truth is—sometimes you hear them and sometimes you don’t.”
Electric Counterpoint was commissioned by BAM for guitarist Pat Metheny. It is the third in a series of pieces (first Vermont Counterpoint in 1982 for flutist Ransom Wilson followed by New York Counterpoint in 1985 for clarinetist Richard Stolzman) with a soloist playing against a pre-recorded tape of themselves. In Electric Counterpoint the soloist pre-records as many as ten guitars and two electric bass parts and then plays the final eleventh guitar part live against the tape.
Reich says Piano Counterpoint “is an arrangement of Six Pianos in which four of the six piano parts are pre-recorded and the last two are combined into a more virtuosic single part played live. For these last two parts to be played by a single pianist it was necessary to move some of the melodic patterns up an octave giving the piece an increased sparkle and intensity. The amplification of the live player along with the pre-recorded playback adds additional electricity. Combined with the practicality of needing only a solo pianist, this arrangement can be heard as improving on the original.”