In C

[Kim Flint <kflint@annihilist.com>]

this was sent to me, thought some of you might be interested.....

>Envelope-to: kflint@annihilist.com
>Date: Thu, 21 May 1998 00:22:46 +1000
>From: robert davidson <s036614@student.uq.edu.au>
>Reply-To: s036614@student.uq.edu.au
>MIME-Version: 1.0
>To: kflint@annihilist.com
>Subject: In C
>
>>From Wired magazine:
>
>Terry Riley
>In C: 25th Anniversary Concert
>New Albion
>
>Many believe that In C crystallized and formally launched the minimalist
>movement. This exceptional recording re-emphasizes
>its stature in 20th-century music. When Terry Riley penned In C, there
>was a grand convergence on the West Coast in the
>'60s. The fertile California avant-garde scene (which included Lukas
>Foss and electronic-music pioneer Morton Subotnick), a
>resurgence in Eastern music, and psychotropic drugs all combined to
>stimulate and influence Riley.
>
>In C remains a universal classic for its open-ended, ludic nature. The
>score sets forth 53 short phrases to be played by every
>member of the ensemble, as well as "the Pulse" - a part in which high Cs
>are played, usually by piano, in a monotonous stream
>of eighth notes throughout the performance. The order of the 53 phrases
>is unchanging, but each can be repeated as many
>times as the musicians desire. In C ends when all the players have
>arrived at the last figure. No two performances are alike,
>and the attentive interplay between ensemble members is crucial to
>pulling the piece off.
>
>The joys of this 25th Anniversary recording are manifold: it is
>substantially longer than earlier recordings, and the ensemble
>here bulges with 31 members, including Riley, Jaron Lanier, Henry
>Kaiser, and members of the Kronos Quartet. This version
>is saucy and sensuous, rich with reed instruments and percussion.
>Following any one instrument's excursion through the piece is
>like tracing the elegant gearwork of a precision watch.
>
>With its innovative methodology, In C has contributed to countless
>aspects of contemporary classical and popular music and
>aided in the birth of the ambient genre. Within its pockets of
>dissonance and consonance, its pauses and surges, are musical
>quintessence and divine proportion.
>
>- Alan E. Rapp
>

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com