Terry Riley - In C
Terry Riley - In C
Terry Riley - In C
Terry Riley - In C
Terry Riley - In C
Terry Riley - In C
Terry Riley - In C
Terry Riley - In C

Terry Riley - In C

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Terry Riley (Leader & Saxophone)

Members of the Center of Creative & Performaning Arts in the State University of New York at Buffalo: Margaret Hassell (The Pulse), Lawrence Singer (Oboe), Darlene Reymard (Bassoon), Jon Hessell (Trumpet), Jerry Kirkbride (Clarinet), David Shostac (Flute), David Rosenboom (Viola), Stuart Dempstar (Trobone), Edward Burnham (Vibraphone), Jan Williams (Marimbaphone)

 

1 LP, gatefold sleeve

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Pallas

Label : Pure Pleasure

Original Label : Columbia

Recorded in 1968 by Fred Plaut & Russ Payne

Produced by David Behram

Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London, U.K

Originally released in 1972

Reissued in December 2013

 

Tracks:

Side A :

1. In C

Side B :

1. In C
 

 

Reviews:

« Terry Riley would certainly bristle at the idea of there being a "definitive" version of In C, since it was created with the intention of having an infinite number interpretive possibilities, but this version, a reissue of the original Columbia recording, led by the composer, has a certain authority since it was the means by which the piece was introduced to a broad public and it paved the way for the biggest revolution in classical composition in the second half of the twentieth century. It has the hallmarks that came to define musical minimalism: triadic harmony, a slow rate of harmonic change, a steady pulse, and the use of repetitive patterns. In this performance, it has a shiny, almost metallic brightness and a visceral energy that immediately set it apart from the intellectually rigorous and austere trends in the new music establishment of the 1960s. The performance, by members of the Center of the Creative and Performing Arts of SUNY Buffalo, is disciplined, staying within the parameters Riley prescribes, but is also freely inventive, taking advantage of the opportunities Riley gives the performers for creative self-expression. The result sounds spontaneous but assured, never chaotic or capricious. The ensemble understood and had rehearsed the piece thoroughly, performing it at Carnegie Hall not long before this recording was made in 1968, when the piece was already four years old. For listeners with a sympathy for minimalism, the energy of this performance can be a wild and exhilarating ride, and it will be a nostalgic trip for anyone who knew it in its earlier incarnations on LP or cassette tape. » AllMusic Review by Stephen Eddins

 

Ratings :

AllMusic : 5 / 5 , Discogs : 4.62 / 5 

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