Steve Reich is the self-renewer of his one-time minimalist peers, able to revitalise his output just at the point when accusations of resting on laurels start to surface. By 1980, he had seemingly exhausted the possibilities of eight years of harmony-based writing, and aural wallpaper felt worryingly close. Tehilim changed all that: with its grounding in Hebrew cantilation and complex though always dancing rhythmic surround, this was Reich at his absolute best. The four Psalm texts--never so literal as to be settings--form a half-hour vocal "symphony", in impact though emphatically not in conception. The first and longest demonstrates to perfection Reich's method of deriving more from less; textures are spare and streamlined, but capable of great intricacy--the passage from roughly 4'30'' is a wonder of metrical freefall. The closing minutes have a sense of release rare in music of any period. De Leeuw's performance is a marvel of accuracy and energy. Don't worry that the accompanying Three Movements is Reich at his dreariest: Tehilim is one of the most joyous half-hours you'll ever spend. --Richard Whitehouse