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Terry Riley

Publisher: AMP

In C (1964)
Associated Music Publishers Inc
Large Ensemble (7 or more players)
Year Composed
1 Hours 10 Minutes
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Programme Note
Terry Riley In C (1964)

Performance materials for Riley's In C are sold in a complete set containing the following parts:

C in treble clef - 26
B-flat in treble clef - 26
F in treble clef - 12
E-flat in treble clef - 8
D in treble clef - 1
A in treble clef - 1
G in treble clef - 1

C in alto clef - 8

C in bass clef - 16

One score

  • Soloist(s)
    Terry Riley (leader and saxophone), Margaret Hassell (the pulse), Lawrence Singer (oboe), Darlene Reynard (bassoon), Jon Hassell (trumpet), Jerry Kirkbride (clarinet), David Shostac (flute), David Rosenboom (viola), Stuart Dempster (trombone), Edward Burnham (vibraphone), Jan Williams (marimbaphone)
    Columbia Masterworks:
  • Large Ensemble (7 or more players):
  • 10 APR 2015
    World Minimal Music Festival
    Muziekgebouw, Amsterdam
    Leerorkest Amsterdam
  • 08 APR 2015
    World Minimal Music Festival
    Muziekgebouw, Amsterdam
  • 02 APR 2015
    Ars Nova
    Seoul, South Korea
    Seoul Philharmonic Orchestra
  • 14 AUG 2014
    death speaks Country Premiere
    In C
    Kilkenny Arts Festival
    Kilkenny, Ireland
    Shara Worden
  • 08 APR 2014
    Minimalist Jukebox
    Walt Disney Concert Hall, Los Angeles, CA
    Los Angeles Philharmonic
  • 05 APR 2014
    Minimalist Jukebox
    Hammer Museum, Los Angeles, CA
    The Industry
    Yuval Sharon, artistic director

    Other Dates:
    12 April - Hammer Museum, Los Angeles, CA
  • 16 FEB 2014
    stargaze presents
    Volksbühne am Rosa-Luxemburg-Platz, Berlin
  • 15 FEB 2014
    stargaze presents
    Volksbühne am Rosa-Luxemburg-Platz, Berlin
    Pantha Du Prince & The Bell Laboratory
  • 14 FEB 2014
    stargaze presents
    Volksbühne am Rosa-Luxemburg-Platz, Berlin
    Nils Frahm and stargaze
  • 16 OCT 2013
    Potsdam, Germany
  • 04 OCT 2013
    Barbican, London
    Pantha Du Prince & The Bell Laboratory
  • 03 OCT 2013
    Frankfurt Main, Germany
    Ensemble musikFabrik
  • 14 SEP 2013
    Winchester, VA
    Shenandoah University
  • 06 MAY 2013
    Acht Brücken
    Philharmonie, Cologne, Germany
    Mattew Herbert Quartet and stargaze
  • 06 DEC 2012
    Normal, IL
    Illinois State University

    Other Dates:
    7,8 December - Normal, IL
  • 19 MAY 2012
    Hamburg, Germany
    Klangforum Wien
    Emilio Pomárico, conductor
  • 25 MAR 2012
    Minimal Extreme
    City Halls, Glasgow
    Theatre of Voices and Ars Nova Copenhagen
    Paul Hillier, conductor
  • 24 NOV 2011
    Kings Place, LONDON
    Katia & Marielle Labèque (pianos), Nicola Tescari (keyboard), David Chalmin (electric guitar), Massimo Pupillo (bass guitar), Raphaël Séguinier (percussion), Matthew Barley (cello), Olivia Chaney (singer), Olranda Bryars (singer)

"This primitivistic music goes on and on," the prescient San Francisco Chronicle music and art critic Alfred Frankenstein wrote in his 1964 review of the premiere of Terry Riley's "In C." "At times you feel you have never done anything all your life long but listen to this music and as if that is all there is or ever will be, but it is altogether absorbing, exciting, and moving, too," he continued. Unless a bolt out of blue hits the musical world between now and Nov. 4, Riley's controlled improvisation of 53 melodic fragments built around the key of C and regulated by a continual pulse will have the distinction of being the most influential work of the past half-century and the most unlikely one. Although the 28-year-old composer and pianist had been fooling around for the previous five years with a new, hypnotically reductive music made either of long tones or rapidly repeated patterns, "In C" proved precisely the right music for the right moment. Its premiere at the San Francisco Tape Music Center, a small alternative space, was the day after Lyndon B. Johnson had been elected president. The country was still coming out of its gloom following the assassination of John F. Kennedy. "In C" was not only "Like None Other on Earth," as the headline in the Chronicle proclaimed, but it also lifted spirits like the typical contemporary music of the time was not intended to do. Here was process music that seemed unprocessed, free and natural. But no one at the time could possibly have been so prescient as to envision what Riley's invention wrought and continues to do.
Mark Swed, Los Angeles Times,4/8/2014
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