Philip Glass

There were not any types of speeches, or affected hugs, or lifted arms in settlement. Not also a handshake. Still, on the night of Tuesday at the Brooklyn Academy of Music, two Minimalism’s pioneer, the composers Steve Reich and Philip Glass, both 77, put sideways a professional and personal feud that lasted over the period of 40 years and, for the initial time as the early ’70s, executed together because they had in their starting days so frequently and so remarkably.

The program, the primary of three, piece of the Next Wave Festival, bring together two performer-composer collectives which have shaped current American music: the Philip Glass Ensemble that is still moving strong, and Musicians and Steve Reich that reunited for this particular concert of works by both creators, finishing with seminal “Music for 18 Musicians” of Mr. Reich.

The bigger aim of the program was to start the Academy’s almost three-week festivity of the 50th anniversary of Nonesuch Records. This indispensable company, “a tag without tags,” as it has itself long billed, has defender modernist postmodernist and masters mavericks, world rock and music bands: songs by Youssou N’Dour the Senegalese pop star to albums of Stephen Sondheim musicals such as “Road Show.” On the other hand, Nonesuch has been essential to the careers of Mr. Reich and Mr. Glass.

It was just a kind of tribute to the label, as well as to Robert Hurwitz, its prophet president for the earlier 30 years, that Mr. Reich and Mr. Glass put aside whatsoever animosity joined and lingered for this type of concert. The manner they performed it, with Mr. Glass taking fraction in the presentation of Mr. Reich’s “Four Organs,” that started the program, was very meaningful than any other type of public display of unity would have been.