Steve Reich, one of the most influential living composers and a pioneer of musical minimalism, is approaching his 90th birthday on October 3, 2026. Born in New York in 1936, Reich’s career spans over six decades, during which he has profoundly shaped contemporary classical music and beyond. Celebrations of his work are already underway, including the world premiere of his new large ensemble piece, *In All Your Ways*, at the Edinburgh Festival and a late-night concert at the BBC Proms.
Reich’s style, often associated with minimalism—a term he approaches cautiously—centers on repetitive motifs, driving rhythms, and tonal harmonies. He has cited a wide array of influences, from Stravinsky, Bartók, and jazz icons like Charlie Parker and Miles Davis to African and Indian music, describing the minimalist movement as “an intuitive movement towards what we wanted to hear.” His innovations, such as the “phasing” technique developed in the 1960s where two identical phrases move gradually out of sync, have left a lasting impact not only on classical music but also on film soundtracks, electronic dance music, and popular artists like David Bowie and Radiohead.
Despite his advancing age and recent health setbacks—including a broken rib and wrist injury—Reich remains intellectually active and engaged with his work. Though he finds physical limitations challenging, particularly with piano practice, he maintains a lively curiosity and enthusiasm. In reflections on his career, Reich acknowledges a mixture of satisfaction and self-criticism, describing a “closet full of failures” alongside enduring successes. Works like *Music for 18 Musicians* (1976) continue to resonate, praised for their complex interplay of rhythmic and harmonic textures.
Reich’s engagement with political themes in his music remains measured. While some of his video-operas, such as *The Cave* and *Three Tales*—collaborations with his wife, artist Beryl Korot—contain provocative material, he expresses ambivalence about their ability to sustain interest over time. His primary criterion for music’s value, Reich states, is its timelessness and quality: “Good music is good music,” he says emphatically. “Can you play it next to Charlie Parker? Can you play it next to Johann Sebastian Bach? If it still sounds worthwhile, you’ve got something.”
His influence has been nurtured and expanded by subsequent generations of musicians, notably Scottish percussionist Colin Currie, who has been a central figure in many events marking Reich’s upcoming milestone. Reich recalls meeting Currie two decades ago and jokingly expressing mixed feelings about the percussionist’s technical prowess, yet welcoming the new energy brought to his compositions. “I sure wish other people would get involved because I’m not going to be around forever,” Reich remarks soberly.
Reich’s approach to music remains deeply serious and rooted in a lifelong exploration of sound and time. Although he rarely revisits his own recordings, he recently listened again to *Drumming* (1971), marveling at the intensity and youthfulness captured in the performance. His reputation as a somewhat stern figure in interviews has softened; he engages in spirited conversation, sharing anecdotes, and occasional humor with warmth and wryness.
As Steve Reich nears nine decades, his legacy as a transformative force in contemporary music is firmly established, with celebrations planned globally in New York, London, Paris, and elsewhere, underscoring his enduring impact on music history.