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TERRY RILEY/ 2012
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 3 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0256 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time."
- Terry Riley
Terry Riley -
Terrence Mitchell Riley,[1] (born June 24, 1935) is an American composer intrinsically associated with the minimalist school of Western classical music and was a pioneer of the movement. His work has been deeply influenced by both jazz and Indian classical music.
Techniques:
While his early endeavors were influenced by Stockhausen, Riley changed direction after first encountering La Monte Young, in whose Theater of Eternal Music he later performed in 1965-66. The String Quartet (1960) was Riley's first work in this new style; it was followed shortly after by a string trio, in which he first employed the repetitive short phrases for which he and minimalism are now known.[citation needed]
His music is usually based on improvising through a series of modal figures of different lengths, such as in In C (1964)and the Keyboard Studies. The first performance of In C was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick. Its form was an innovation: The piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, in the key of C. One performer beats a steady pulse of Cs on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, with the different musical modules interlocking in various ways as time goes on. To some extent, though, critics have focused too obsessively on In C, thereby ignoring the full range of Riley's work and innovations.[citation needed] The Keyboard Studies are similarly structured, a single-performer version of the same concept.[citation needed]
In the 1950s he was already working with tape loops, a technology then in its infancy, and he has continued manipulating tapes to musical effect, both in the studio and in live performance, throughout his career. An early tape loop piece titled The Gift (1963) featured the trumpet playing of Chet Baker. Riley has composed in just intonation as well as microtonal pieces. [5]
Riley's collaborators have included the Rova Saxophone Quartet, Pauline Oliveros, the ARTE Quartett, and, as mentioned, the Kronos Quartet.
Riley's famous overdubbed electronic album A Rainbow in Curved Air (recorded 1967, released 1969) inspired many later developments in electronic music, including Pete Townshend's synthesizer parts on The Who's "Won't Get Fooled Again" and "Baba O'Riley", the latter named in tribute to Riley as well as to Meher Baba.[6] The recording had a significant impact on the development of ambient music and progressive rock and predated the electronic jazz "fusion" of Miles Davis, Herbie Hancock, and others.[citation needed]
As Rainbow demonstrates, Riley performs on multiple keyboard instruments, but his principal instrument is actually the acoustic piano.[citation needed] Riley's 1995 Lisbon Concert recording features him in a solo piano format, improvising on his own works. In the liner notes Riley cites Art Tatum, Bud Powell, and Bill Evans as his piano "heroes," illustrating the central importance of jazz to his conceptions, and his playing bears some notable similarities to that of Keith Jarrett. (The album title invites this comparison.)
Riley's work and various innovations have influenced many others in various genres, including John Adams, Roberto Carnevale, Brian Eno, Robert Fripp, Philip Glass, Frederic Rzewski, Mixmaster Morris and Tangerine Dream.[citation needed]
Notes:
1. ^ Family Tree Legends
5. ^ Holmes, Thomas B. Electronic and Experimental Music, Taylor & Francis (2008) p. 132, 362 ISBN 9780415957816
-http://en.wikipedia.org/wiki/Terry_Riley
In C -
In C is a semi-aleatoric musical piece composed by Terry Riley in 1964 for any number of people, although he suggests "a group of about 35 is desired if possible but smaller or larger groups will work".[1] It is a response to the abstract academic serialist techniques used by composers in the mid-twentieth century and is often cited as the first minimalist composition.
Technique:
In C consists of 53 short, numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times. Each musician has control over which phrase he or she plays: players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. 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. As detailed in some editions of the score, it is customary for one musician ("traditionally... a beautiful girl," Riley notes in the score)[2] 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".
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 alteration 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.
Footnotes:
1. ^ Riley, Terry, "'In C': Performing Directions", from the score for "In C", 1989, Celestial Harmonies
2. ^ This direction seems to be in the original score, but is not in the OtherMinds CC-licensed score.
-http://en.wikipedia.org/wiki/In_C
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