TERRY RILEY IN C ORIGINAL (A2+B1) 1968 CBS ORANGE LABEL VINYL LP
£
15
$
19
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TERRY RILEY ?IN C? 1968 CBS ORANGE LABEL VINYL LP
Sleeve Condition: Near Mint: lovely, flat, clean and sharp. Free from previous owner?s names, marking, stickers, sticker removal residue, defect or damage. Exceptional.
Record Condition: Ex++: a couple of what amounts to no more than sleeve withdrawal or handling marks on Side 2, visible but purely superficial and cosmetic; nothing which in any way affects play. Otherwise, the record is close to Mint and plays flawlessly throughout.
Tracklist
A
In C
23:50
B
In C
19:10
Credits
§ Bassoon ? Darlene Reynard
§ Clarinet ? Jerry Kirkbride
§ Composed By, Leader, Saxophone ? Terry Riley
§ Flute ? David Shostac
§ Marimba ? Jan Williams
§ Oboe ? Lawrence Singer
§ Piano ? Margaret Hassell
§ Trombone ? Stuart Dempster
§ Trumpet ? Jon Hassell
§ Vibraphone ? Edward Burnham
§ Viola ? David Rosenboom
Notes
Recorded at 30th Street Studio,New York City,1968.
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,
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