For the album by Acid Mothers Temple & The Melting Paraiso U.F.O., see In C (album).
Riley's 1968 LP recording of In C as part of the CBS Records "Music of our Time" series.
In C is a musical piece composed by Terry Riley in 1964. It consists of series of 53 short melodic fragments that can be repeated at the discretion of the musicians. It is often cited as the first minimalist composition to make a significant impact on the public consciousness and inspire a new movement.[1] The number of performers is unspecified. Riley suggests "a group of about 35 is desired if possible but smaller or larger groups will work".[2]
In C was inspired by Riley's previous work with tape loops and delay, as well by his interest in group improvisation which he has been developing since 1957-58, alongside his fellow students Loren Rush and Pauline Oliveros. The piece has been recorded by a wide range of musicians, and went on to inspire many other minimalist composers like Philip Glass, Steve Reich, John Adams, Julius Eastman, etc.[5]
In 2022, the 1968 LP recording of In C was selected by the Library of Congress for preservation in the United States National Recording Registry as being "culturally, historically, or aesthetically significant.".[6]
Technique
In C uses an open score and an aleatoric approach. It consists of 53 short numbered musical phrases, lasting from half a beat to 32 beats, and having from one note to twenty-five. Performers are expected to play the first phrase once in unison, after which each performer may repeat the phrase or move on to the next. Each phrase may be repeated an arbitrary number of times at the discretion of each musician in the ensemble. Each musician is expected to use the same tempo, as led by "the pulse" on piano or pitched percussion (such as xylophone or marimba) but otherwise the performers have control over which phrase they play and how many times it is repeated. Performers are encouraged to play the phrases starting at different times, even if they are playing the same phrase. In this way, although the melodic content of each part is predetermined, In C has elements of aleatoric music to it and each performance will be different from others.[7] The performance directions state that the musical ensemble should try to stay within two to three phrases of each other. The phrases must be played in order, although some may be skipped. The first musician to reach the final numbered phrase repeats it indefinitely until all other musicians reach the same phrase, at which point they all crescendo and gradually stop playing until only "the pulse" remains and then goes silent.
As detailed in some editions of the score, it is customary for one musician ("traditionally... a beautiful girl," Riley notes in the score)[8] to play the note C in repeated eighth notes, typically on a piano or pitched-percussion instrument (e.g. marimba). This functions as a metronome and is referred to as "The Pulse". Steve Reich introduced the idea of a rhythmic pulse to Riley, who accepted it, thus radically altering the original composition by Riley which had no pre-determined rhythm.[9]
Program notes from first UK performance, May 1968
In C has no set duration; performances can last as little as fifteen minutes or as long as several hours, although Riley indicates "performances normally average between 45 minutes and an hour and a half." The number of performers may also vary between any two performances. The original recording of the piece was created by 11 musicians (although, through overdubbing, several dozen instruments were utilized), while a performance in 2006 at the Walt Disney Concert Hall featured 124 musicians.
The piece begins on a C major chord (patterns one through seven) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alternation between B♭ and G. Though the polyphonic interplay of the various patterns against each other and themselves at different rhythmic displacements is of primary interest, the piece may be considered heterophonic.
The first UK performance of In C was on 18 May 1968 at Royal Institute Galleries by the Music Now Ensemble directed by Cornelius Cardew as part of a series of four Music Now, Sounds of Discovery Concerts, during May 1968.[10][11]
Recordings
The piece has been recorded a number of times:
Artist
Instrumentation
Duration
Tempo (♩=)
Recording information
Release information
Terry Riley and Center of Creative and Performing Arts (SUNY-Buffalo)
Piano, Percussion, Flute, Cello, Accordion, Violin, Clarinet, Bass, Saxophone, Acoustic Guitar, Electric Guitar, Trumpet. Featured Guest Dennis DeSantis on laptop and effects.
61' 28"
124
Recorded live on November 8, 2009, at Le Poisson Rouge, New York City
Terry Riley: In C Ghostly International GI-108 (2010) Limited Edition CD + Digital Download
^Honigmann, David (October 7, 2013). "In C, Barbican, London – review". Financial Times. Archived from the original on 2022-12-10. Retrieved 2014-07-28. In C – probably the second-best-known aleatory classic – is less a score than a set of instructions
^This direction seems to be in the original score, but is not in the OtherMinds CC-licensed score.
^Andrew Ford (May 6, 2012). "Steve Reich – rhythm and minimalism". The Music Show. ABC Radio National. Archived from the original on 2021-12-09. Retrieved 2014-08-07 – via YouTube. Steve Reich turned his back on Serialism back in the late 60s. He'd heard John Coltrane's free jazz and following a trip to Ghana in the early 70s he decided rhythm was more important than melody. So Minimalism was born in uptown New York.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
^Programme for the Cornelius Cardew Ensemble, Royal Institute Galleries. (1968)
^Anderson, Virginia (18 November 2013). "Systems and Other Minimalism in Britain". In The Ashgate Research Companion to Minimalist and Postminimalist Music, ed. Keith Potter, Kyle Gann, and Pwyll ap Siôn. Farnham, Surrey: Ashgate.
