Terry Riley: In C

Darlene Reynard (Performer), Jerry Kirkbride (Performer), Terry Riley (Composer), David Shostac (Performer), Lawrence Singer (Performer), State University Center of Creative and Performing Arts (Orchestra), Terry Riley (Performer), Stuart Dempster (Performer), Jon Hassell (Performer), Edward Burnham (Performer), David Rosenboom (Performer)

Product Details

• Performer: Darlene Reynard, Jerry Kirkbride, David Shostac, Lawrence Singer, Terry Riley, et al.
• Orchestra: State University Center of Creative and Performing Arts
• Composer: Terry Riley
• Audio CD (October 25, 1990)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Sony
• ASIN: B0000024Q8
• Also Available in: Audio CD  |  Audio Cassette  |  MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (12 customer reviews)
• Amazon.com Sales Rank: #163,760 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com

Sometimes simplicity is the mother of invention, and with In C, Terry Riley composed nothing short of a classic. A cornerstone of minimalism, Riley's 1964 composition is little more than a loose guideline for musicians. Driven by the repeated pulses of even octave eighth notes played on the top two C keys of the piano, each member of the ensemble runs through 53 simple phrases at a self-determined pace. Gradually, swarms of instruments find themselves playing in unison, always to be overtaken by the perfect pacing of the pulsing piano. The entire composition gradually moves from C to E to C to G and, when performed correctly, the effect is otherworldly.

This recording from 1968 features Riley himself on saxophone and a small ensemble of musicians from the New Music Center in Buffalo, New York. Overdubs were employed to keep the flow going and the effect of all this repetition is nothing short of mesmerizing, albeit slightly clinical. An even jazzier recording of this composition exists, the 25th Anniversary Concert on New Albion. On that live recording, a larger ensemble of jazz and classical's elite (including members of Kronos and Rova) invigorate In C with a full sound and plenty of gusto. --Jason Verlinde

Product Description

Terry Riley's In C, one of the most influential compositions of the past quarter century, has been played by almost every conceivable combination of instruments; however, the Shanghai Film Orchestra's version ranks as one of the most exciting and exotic interpretations. It marks the 25th anniversary of the piece, and represents the first time a Western new music piece has been recorded in China. In C is a rhythmic, energetic work, but it also echoes the mystical, embroidered music of the Near East and India. By staying in or around the key of C, this 1964 work creates a model sound that can be seen as a forerunner of today's minimalist and world music styles.

The Shanghai Film Orchestra plays this contemporary Western work on traditional Chinese instruments. The tuning is different, and the tone colors of the ancient Chinese bells and strings lend a new vibrancy to the piece. The construction of this version is equally striking. Instead of following the score straight through, earlier parts are brought back and woven into a tapestry of sound even more mesmerizing than Riley's original recording.

The talented Chinese-American composer, David Mingyue Liang, contributes two works that extend the orchestra's range to include the ethereal sounds of bowed vibes and the haunting resonance of China's only complete set of mangluo gongs. This remarkable recording, the result of a cultural openness in China, proves that the East and West have much to say to each other. --This text refers to an alternate Audio CD edition.

Customer Reviews

Most Helpful Customer Reviews

17 of 19 people found the following review helpful:

5.0 out of 5 stars Repetition _and_ chance, April 3, 2000

By	DAC Crowell (Rankin, IL United States) - See all my reviews

Ting, ting, ting, ting, ting, ting, ting, ting...that's how this starts, with a drumming pulse on the top Cs on a piano. Then gradually, a whole tapestry of interlocking sounds starts to unfold, and you're slowly getting immersed in 'In C'. You don't really listen to this piece; the effect is much more like that aforementioned 'immersion', as the very gradual shifting of the patterns is more like organic growth, instead of the architectural jumps and skips found in Philip Glass or Steve Reich's works. How this is accomplished is by the use of a very selective variant on chance processes; since performers aren't given direct instructions on when to change from one ostinato to the next, this slow, 'oozing' shifting occurs, and it's quite fascinating (as opposed to what one reviewer here seems to think). It's certainly not an easy work to wrap your head around, unlike Glass, etc, but both the music and the ideas behind it are most rewarding. A critical work.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Still the Best Recording, December 29, 2005

By	L. Zajicek "Artolympics" (San Diego, CA) - See all my reviews (REAL NAME)

Minimalism has produced five masterpieces: Philip Glass' "Music in Twelve Parts" and "Einstein on the Beach," La Monte Young's "The Well-Tuned Piano" (good luck finding that one!), Steve Reich's "Music for 18 Musicians," and Terry Riley's "In C." Although there are several recordings of "In C", each with a different orchestration, this one is probably still the best recording after all is said and done. (I only wish Mr. Riley would make a much longer recording, AT LEAST two hours long.)

5 of 6 people found the following review helpful:

5.0 out of 5 stars Very important minimalist work, January 13, 2008

By	Jeffrey J.Park (Massachusetts, USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

The compositional approach of Terry Riley and his pioneering minimalist work In C had a measurable impact on late 1960s and early 1970s musicians that wished to fuse more experimental styles with rock music. In fact, the Swedish group International Harvester is a pretty good example of this, not to mention some of the music of 1970-period Soft Machine.

Written in 1964 (Riley prepared a 53 figure score of sorts which is reproduced in the liner notes), In C is classified as an aleatoric composition; that is, the element of chance plays a significant role in determining what the musicians play. Based on what I have read, performances of In C can last from 15 minutes to two hours and the piece is intended for any number of performers; amateur and trained virtuoso alike.

On this 1968 recording, Terry performs with ten individuals from the Center for Creative and Performing Arts at SUNY (Buffalo, New York) and the performance lasts for approximately 42 minutes. Instrumentation includes saxophone (played by Terry Riley), bassoon, clarinet, oboe, viola, flute, trumpet, trombone, vibraphone and marimbaphone. Central to the performance is a piano part referred to as the "pulse" which is provided by Margaret Hassell. As described in the liner notes, the "pulse" consists of even octave eighth notes played on the top two C notes of the piano, which can clearly be heard at the beginning of the piece. The ensemble plays in sync with this pulse.

The composition itself consists of a dense and subtly changing ostinato network. That is, each performer repeats a single part that is gradually changed, which in turn cues the other performers to also subtly alter what they are playing. As can be imagined, this music takes a great deal of skill and a highly developed ability to listen to the other players. Really good performances can get fairly complex and consist of a writhing mass of ever-shifting ostinati. Although several versions of In C are floating around out there (ranging from one by Japanese psychedelic rock outfit Acid Mothers Temple In C to a version by Bang on a Can Terry Riley: In C), I have not listened to them - as such I can not gage the relative quality of this 1968 performance. Suffice it to say that the changes within this version of In C are subtle (yet exciting), and listening to the entire work requires great concentration and patience on the part of the listener.

While it is difficult to remain still amidst the furious bustle of 21st century living, e.g. kids, work etc... (even for 45 minutes), I found that making the effort was worth it. This album is very highly recommended along with A Rainbow in Curved Air (1969). Other influential minimalist composers include Steve Reich, Philip Glass and Lamonte Young.