An anniversary "In C"
Not many composers can claim credit for initiating an entire musical movement with one piece. Terry Riley can. With "In C," first heard in San Francisco in 1964, what I have called motoric minimalism burst onto the scene and is with us still. Reducing music to its simple basics had been around before 1964 (La Monte Young, for one), but the idea of coupling consonance and simplicity with a steady, driving pulse had not. The subsequent music of not just Riley but Steve Reich (who had a hand in the creation of "In C," reportedly suggesting the plinking octave pulse that can underlie the music), Philip Glass, John Adams and many more -- no matter how eventually overlaid and elaborated -- had not.
On April 24 David Harrington of the Kronos Quartet organized a 45th-anniversary celebration of the piece at Carnegie Hall -- the big Carnegie Hall, the Stern Auditorium, not the smaller Zankel Hall, where hipper music usually cavorts. The place was packed and the audience cheered, and rightly so.
This was an all-star affair, with 70 credited musicians and their sometimes bulky and exotic instruments crowding the stage like some mega-Mahlerian extravaganza. Among them were Riley himself, white-bearded and benign; the Kronos players, front and center; Dennis Russell Davies, billed as "flight pattern coordinator" though "sound mixer": would have been just as appropriate; Stuart Dempster (one of the several performers from the original performance or the first, 1968 recording; Glass; Osvaldo Golijov; Scott Johnson; Joan La Barbara and Morton Subotnick (who commsioned it for the San Francisco Tape Music Center); Kathleen Supove; Margaret Leng Tan; Wu Man; and 16 members of the Young People's Chorus of New York City. Instruments included all the conventional suspects plus didjeridu, conch, "little instruments," theremin, claviola, bass melodica, Uillean bagpipes in C, "original and neglected instruments," Nord Electro, toy piano and toy glockenspiel, pipa, guzheng and three kotos
Other than its flowing, surging beauty and sonic splendor, what made this 90-minute performance so interesting was its further proof of the malleability of Riley's inspiration. As those who follow such matters already know, the "In C" score (projected behind the musicians at Carnegie) consists.of 53 short motifs. Any number of musicians on any kind of instruments may perform it, at any tempo, though Riley has expressed an inclination for about 35 and high, bright sounds. Each musician plays the motifs consecutively, but may repeat each as long as he or she wishes, or pause to listen. When a performer reaches no. 53, the motif is repeated until everyone has arrived there. The steadily plinking high C's, on a piano or mallet instruments, is a suggestion, not an imposition, though I have never heard the piece without them. There are some other rules and suggestions (build to a crescendo, then subside to a diminuendo at the end, and so forth), but that's pretty much it.
Riley says the group can be larger than 35, but again, I had never heard one this big. Typically, "In C" is an enlarged chamber work, with each musician compelled to be highly attuned to the others and to interact with chamber-music-like precision. The performance on April 24 was overtly orchestral, emphasized by the presence of Davis, who wandered about the stage, cueing the wildly disparate subgroups to bring out different layers of aural color.
We sometimes talk of a great orchestral performance as chamber music writ large, with the refined sensitivity of the players to one another. But this was truly orchestral in the weight and sweep and controlled tonal variety of the music. That "In C" worked so well in this very different guise was yet another tribute to Riley and the nova-like brilliance of what he had wrought. I can hardly wait to see what his followers come up with for the 50th anniversary in 2014!
For an ongoing conversation and news reports about arts journalism, go to the blog of the National Arts Journalism Program, here.
AJ BlogsAJBlogCentral | rss
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog