Terry Riley: In C
Artist: Terry Riley
Title: In C
Product Type: COMPACT DISCS
Unusually for a modern serious work, Riley's minimalist masterpiece IN C has already had a number of recordings, all different in interpretation but none quite like this more substantial reworking. Re-Sound started working with the piece in 1996, and over the years have experimented with various performance approaches to the work, which eventually led to the electro-acoustic version recorded here. IN C was written in 1964 and is therefore a pioneer minimalist work. It contains 53 musical motives which all the performers play through but the order of performance, the dynamics, timbre and articulation are chosen by the performer. In that sense a work like this has always been a creation not only of the composer but also the musicians performing it. IN C has a constant pulse of 140 beats per minute - a tempo now associated with electronic dance music. This new interpretation for the first time explores that link and uses idioms that characterize the dance genre, such as a frequent kick drum, hi-hat build ups, drum loops and electronic sounds and samples. Many of these are contained in an electronic sequence that was pre-recorded, and against which each of the musicians play their acoustic contributions. This use of a re-determined bass is the most radical change to the work and departs from the more improvisatory methods of previous performances.
Title: In C
Product Type: COMPACT DISCS
Unusually for a modern serious work, Riley's minimalist masterpiece IN C has already had a number of recordings, all different in interpretation but none quite like this more substantial reworking. Re-Sound started working with the piece in 1996, and over the years have experimented with various performance approaches to the work, which eventually led to the electro-acoustic version recorded here. IN C was written in 1964 and is therefore a pioneer minimalist work. It contains 53 musical motives which all the performers play through but the order of performance, the dynamics, timbre and articulation are chosen by the performer. In that sense a work like this has always been a creation not only of the composer but also the musicians performing it. IN C has a constant pulse of 140 beats per minute - a tempo now associated with electronic dance music. This new interpretation for the first time explores that link and uses idioms that characterize the dance genre, such as a frequent kick drum, hi-hat build ups, drum loops and electronic sounds and samples. Many of these are contained in an electronic sequence that was pre-recorded, and against which each of the musicians play their acoustic contributions. This use of a re-determined bass is the most radical change to the work and departs from the more improvisatory methods of previous performances.
