Product Description Terry Riley's In C, one of the most influential compositions of the past quarter century, has been played by almost every conceivable combination of instruments; however, the Shanghai Film Orchestra's version ranks as one of the most exciting and exotic interpretations. It marks the 25th anniversary of the piece, and represents the first time a Western new music piece has been recorded in China. In C is a rhythmic, energetic work, but it also echoes the mystical, embroidered music of the Near East and India. By staying in or around the key of C, this 1964 work creates a model sound that can be seen as a forerunner of today's minimalist and world music styles. The Shanghai Film Orchestra plays this contemporary Western work on traditional Chinese instruments. The tuning is different, and the tone colors of the ancient Chinese bells and strings lend a new vibrancy to the piece. The construction of this version is equally striking. Instead of following the score straight through, earlier parts are brought back and woven into a tapestry of sound even more mesmerizing than Riley's original recording. The talented Chinese-American composer, David Mingyue Liang, contributes two works that extend the orchestra's range to include the ethereal sounds of bowed vibes and the haunting resonance of China's only complete set of mangluo gongs. This remarkable recording, the result of a cultural openness in China, proves that the East and West have much to say to each other. .com There is no doubt about composer Terry Riley's position in the history of 20th-century music. When his watershed composition In C was recorded in 1964, very little of its ilk was available. In C is a pulsating exploration of musical tones, all of them surrounding a riveting repetition of a C note on the piano. To simplify the event, its debut was the formal birth of minimalism. While Riley's original CBS recording has strong charm, and bragging rights as first-on-the-block, one measure of a piece's greatness is its translatability. To this end, Celestial Harmonies presents the Shanghai Film Orchestra on traditional Chinese instruments playing the piece. Percussive, lilting, and thick with energy, Shanghai is monumentally faithful to Riley's designs, loping and looping the segments brilliantly and utilizing the Chinese instruments' pitches to the advantage of the composition. --Andrew Bartlett
J**L
A stunning performance of a contemporary classic
OK, I admit I'm a little obsessed with this piece. This is the 6th version of it I own. Frankly, Riley's 1964 minimalist masterpiece varies so much from one version to another that it easily embraces diverse interpretations, from the early version called Mantra, to the excellent version by the Bang on a Can All-Stars, or my favorite by the Belgian new music group Ictus. (I've never been a fan of the Columbia original.) This latest manifestation by the Danish a capella group Ars Nova Copenhagen, with the Percurama Percussion Ensemble, under the direction of Paul Hillier, really makes the work feel like a 20th century masterpiece. Hillier and musicians approach this work with the devotion they might bring to a great sacred work, using a text that Riley derived from holy names, and the result is, well, nearly a religious experience. In C "works" in direct proportion to the commitment brought to it by the performers. This recording works brilliantly. You will want to own this!
D**N
I liked this.
I bought this mainly because I am a 'completist' for In C, but did enjoy what I heard.
N**D
NOT as good as the original version
Although some reviewers seemed to like this version, I did not find inspiring at all. Some compared it to Steve Reich's work. Maybe. But it resembles more his peculiar 'Tehillim' with voices than his excellent 'Music for 18 Musicians'. This weak attempt at 'In C' does not match Riley's spirit, verve and virtuosity. The original version (by Terry Riley) of 'In C' is really still the best in my humble opinion.
N**E
Dream
As with all versions of In C, this is dream like and relaxing. I will eventually listen to every version ever made. Its the only Riley song I like actually, sorry to say this about the guy. But, I love In C, for what its worth.
M**N
Five Stars
Wonderful ....I wonder why Meredith Monk didn't get to this first
S**N
The Best I've heard...!
In C is a piece that is notorious for being treated with excessive jazz flair with little respect for phrases or musicality (especially by sax players, who have been all over the map in other recordings.) This results in the piece sounding sleezy, uninspired, unmusical and far too loud!Quite simply put, this is the best performance of this piece that I own and have ever heard. I would use words like sleek, mysterious, and sexy to describe this amazing performance. The ensemble takes full advantage of dynamics and has incredible phrase development throughout.You will not be disappointed!
M**S
Don't miss this version!
I don't have much to add to the other two reviews currently posted here: this is a gorgeous, must-hear version of this seminal work of minimalism. I'm writing this mainly to point out that amazon is selling the entire work as a 256kbs mp3 download for a mere 99 cents. At that price, you can't go wrong! Buy it!
V**R
A uniquely engaging performance of a minimalist masterpiece
Terry Riley's In C was written in 1964 and has often been called the very first minimalist composition. It could also just as easily be called the very best minimalist composition. The piece was written as a reaction to serialism, so it's an aleatoric work. The freedom provided in organizing the ensemble, in the number of repetitions - in everything except the phrases - means you'll never be satisfied just hearing one performance. This performance here, featuring the Percurama Percussion Ensemble, is one to be treasured. (Also highly recommended: Terry Riley: In C )
M**L
A different take
It is perhaps surprising that it's taken this long for someone to think of tackling In C vocally. There are some challenges. Other versions I have heard use a wide range of timbres and so it is quite easy to hear the distinct sections (snippets, whatever) interacting with each other. By only using marimba and voice, the variations are less obvious. Paul Hillier has used this to his advantage, by using quite a bit of unison singing, making it sound in some ways like plainchant. And the use of syllables rather than purely sang notes adds some variety. At the same time, according to the sleeve notes, the singers have employ a number of variations on the original motifs. Both the unison singing and the variations require more arrangement than might be expected of a piece that makes a virtue of individuality. The overall effect is somewhat 'churchy' and dramatic (especially the surging voices at the start). So, while this is definitely and recognisably 'In C', it is also something new and fascinating.
M**N
Five Stars
Wonderful - a classic.
M**A
In C .
Excellente version d' In C. Très originale dans l'usage des voix et percussions. Les motifs sont interprétés avec beaucoup de dynamiques et de précision.
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