The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C" was met with critical acclaim from around the world as the first electroacoustic rendition of this minimalist treasure. For the 50th anniversary of the composition of the score, The Salt Lake Electric Ensemble accepted an invitation to collaborate

The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C" was met with critical acclaim from around the world as the first electroacoustic rendition of this minimalist treasure. For the 50th anniversary of the composition of the score, The Salt Lake Electric Ensemble accepted an invitation to collaborate with the renowned Ririe-Woodbury Dance Company, resulting in a series of live music and dance concerts and this recording. The music contains a colorful mix of electronic and acoustic instruments including synthesizers, samplers, drum machines, vibraphone, guitars and bass guitars, flugelhorn, double bass, and acoustic drums.

Note: This CD quality digital file in FLAC format (16 bit 44.1KHZ) may require a free software installation to play. VLC media player is one popular option.

If you're not sure if you can play this file, please contact us or purchase the MP3 version.

The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C"

Note: This CD quality digital file in FLAC format (16 bit 44.1KHZ) may require a free software installation to play. VLC media player is one popular option.

If you're not sure if you can play this file, please contact us or purchase the MP3 version.

The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C" was met with critical acclaim from around the world as the first electroacoustic rendition of this minimalist treasure. For the 50th anniversary of the composition of the score, The Salt Lake Electric Ensemble accepted an invitation to collaborate with the renowned Ririe-Woodbury Dance Company, resulting in a series of live music and dance concerts and this recording. The music contains a colorful mix of electronic and acoustic instruments including synthesizers, samplers, drum machines, vibraphone, guitars and bass guitars, flugelhorn, double bass, and acoustic drums.

This version maximizes sound quality and is encoded as a high resolution 24 bit 96 KHZ FLAC file, which may require special hardware and software to play. If you aren't sure you can play this file, please contact us or choose the MP3 version instead.

The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C"

This version maximizes sound quality and is encoded as a high resolution 24 bit 96 KHZ FLAC file, which may require special hardware and software to play. If you aren't sure you can play this file, please contact us or choose the MP3 version instead.

The Salt Lake Electric Ensemble's 2010 recording of Terry Riley's seminal 1964 masterpiece "In C" was met with critical acclaim from around the world as the first electroacoustic rendition of this minimalist treasure. For the 50th anniversary of the composition of the score, The Salt Lake Electric Ensemble accepted an invitation to collaborate with the renowned Ririe-Woodbury Dance Company, resulting in a series of live music and dance concerts and this recording. The music contains a colorful mix of electronic and acoustic instruments including synthesizers, samplers, drum machines, vibraphone, guitars and bass guitars, flugelhorn, double bass, and acoustic drums.

This is a 320 kbps MP3 file.

Be aware that the music on this 16 minute recording begins very quietly and gradually becomes loud.

This piece was inspired by Karlheinz Stockhausen's score "Set Sail For the Sun," which comes from his collection titled "From the Seven Days."

It reads:

Play a tone for so long until you hear its individual vibrations

This is a 320 kbps MP3 file.

Be aware that the music on this 16 minute recording begins very quietly and gradually becomes loud.

This piece was inspired by Karlheinz Stockhausen's score "Set Sail For the Sun," which comes from his collection titled "From the Seven Days."

It reads:

Play a tone for so long until you hear its individual vibrations hold the tone and listen to the tones of the others -to all of them together, not to individual ones- and slowly move your tone until you arrive at complete harmony and the whole sound turns to gold to pure, gently shimmering fire

Album notes:

The cycle of fifteen pieces that make up "Aus den Sieben Tagen" (1968), including the work on this recording "Setz die Segel zur Sonne" (Set Sail For the Sun), form an interesting contrast to a large number of Karlheinz Stockhausen’s works.

Written in a year of personal and social turbulence (the same year Pink Floyd set the controls for the heart of the sun), it represents for some an immense departure in his oeuvre. For indeed it is the scientific, even pedantic level of detailed notation (however novel many of the new symbols he invented) both in subsequent and earlier works that lead critics to align his music with the post-war atomic age; a new faith in technology and progress perceived to be reflected in the complexity of his written scores and new reliance on machines to realize precise measurements of sub-atomic time and articulation.

Containing only a short text, these pieces ask the performer(s) to use intuition to realize a composition with no written pitches, rhythms, dynamics, or instrumentation; to listen to both inner projections and often the sound production of the ensemble as a whole. Asking the players to “…play a tone for so long until you hear its individual vibrations…” may in essence not be so far removed from the monistic examinations of sine tones and their combinations present in more famous electronic works such as Kontakte or Gesang der Jünglinge.

The Salt Lake Electric Ensemble approached Set Sail For the Sun with significant discussion of just what “pure, gently shimmering fire” would really sound like, and the types of timbres both acoustic and electronic that would permit the ensemble to “listen to the tones of others…and slowly move…until you arrive at complete harmony”.

Recorded live, this music asks the listener to transcend form and analysis, and use a similar inner instinct to navigate the ocean of sound.

Note: This CD quality digital file in FLAC format (16 bit 44.1KHZ) may require a free software installation to play. VLC media player is one popular option.

If you're not sure if you can play this file, please contact us or purchase the MP3 version.

Be aware that the music on this 16 minute recording begins very quietly and gradually becomes loud.

Note: This CD quality digital file in FLAC format (16 bit 44.1KHZ) may require a free software installation to play. VLC media player is one popular option.

If you're not sure if you can play this file, please contact us or purchase the MP3 version.

Be aware that the music on this 16 minute recording begins very quietly and gradually becomes loud.

This piece was inspired by Karlheinz Stockhausen's score "Set Sail For the Sun," which comes from his collection titled "From the Seven Days."

It reads:

Play a tone for so long until you hear its individual vibrations hold the tone and listen to the tones of the others -to all of them together, not to individual ones- and slowly move your tone until you arrive at complete harmony and the whole sound turns to gold to pure, gently shimmering fire

Album notes:

The cycle of fifteen pieces that make up "Aus den Sieben Tagen" (1968), including the work on this recording "Setz die Segel zur Sonne" (Set Sail For the Sun), form an interesting contrast to a large number of Karlheinz Stockhausen’s works.

Written in a year of personal and social turbulence (the same year Pink Floyd set the controls for the heart of the sun), it represents for some an immense departure in his oeuvre. For indeed it is the scientific, even pedantic level of detailed notation (however novel many of the new symbols he invented) both in subsequent and earlier works that lead critics to align his music with the post-war atomic age; a new faith in technology and progress perceived to be reflected in the complexity of his written scores and new reliance on machines to realize precise measurements of sub-atomic time and articulation.

Containing only a short text, these pieces ask the performer(s) to use intuition to realize a composition with no written pitches, rhythms, dynamics, or instrumentation; to listen to both inner projections and often the sound production of the ensemble as a whole. Asking the players to “…play a tone for so long until you hear its individual vibrations…” may in essence not be so far removed from the monistic examinations of sine tones and their combinations present in more famous electronic works such as Kontakte or Gesang der Jünglinge.

The Salt Lake Electric Ensemble approached Set Sail For the Sun with significant discussion of just what “pure, gently shimmering fire” would really sound like, and the types of timbres both acoustic and electronic that would permit the ensemble to “listen to the tones of others…and slowly move…until you arrive at complete harmony”.

Recorded live, this music asks the listener to transcend form and analysis, and use a similar inner instinct to navigate the ocean of sound.