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High quality audio downloads can be purchased on this page or at our Bandcamp website. We provide our music in various formats:

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New CD from SLEE and Orange Mountain Music

Philip Glass: Music with Changing Parts: CD (USA sales)
  • Philip Glass: Music with Changing Parts: CD (USA sales)
  • Philip Glass: Music with Changing Parts: CD (USA sales)
In cart Not available Out of stock
$17.99

New from Orange Mountain Music: a thrilling new interpretation of Philip Glass's 1970 masterpiece "Music With Changing Parts" by the Salt Lake Electric Ensemble. Music with Changing Parts was the first piece recorded by the Philip Glass Ensemble on the Chatham Square label in the early 1970s and it has since enjoyed varied interpretations by the British group Icebreaker (2007) and a recent version by Cluster Ensemble. Composed in a open score, the established sound of the piece is that of the Philip Glass Ensemble of electric organs and woodwinds. Unlike previous versions, this new version combines both live performers and processed sounds.

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Philip Glass: Music with Changing Parts: CD (International Sales)
  • Philip Glass: Music with Changing Parts: CD (International Sales)
  • Philip Glass: Music with Changing Parts: CD (International Sales)
In cart Not available Out of stock
$31.99

New from Orange Mountain Music: a thrilling new interpretation of Philip Glass's 1970 masterpiece "Music With Changing Parts" by the Salt Lake Electric Ensemble. Music with Changing Parts was the first piece recorded by the Philip Glass Ensemble on the Chatham Square label in the early 1970s and it has since enjoyed varied interpretations by the British group Icebreaker (2007) and a recent version by Cluster Ensemble. Composed in a open score, the established sound of the piece is that of the Philip Glass Ensemble of electric organs and woodwinds. Unlike previous versions, this new version combines both live performers and processed sounds.

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Terry Riley's In C: 53 Rooms for Ririe-Woodbury

Terry Riley's In C: 53 Rooms for Ririe-Woodbury - MP3 Version

Salt Lake Electric Ensemble

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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.

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  1. 1 In C 32:23 Info
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Terry Riley's In C: 53 Rooms for Ririe-Woodbury - CD Quality (16 bit 44.1 KHZ) FLAC version

Salt Lake Electric Ensemble

In cart Not available Out of stock

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.

Read more… close
/
  1. 1 In C 32:23 Info
    In cart Not available Out of stock
    /

Terry Riley's In C: 53 Rooms for Ririe-Woodbury - High Resolution (24 bit 96 KHZ) FLAC version

Salt Lake Electric Ensemble

In cart Not available Out of stock

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.

Read more… close
/
  1. 1 In C 32:23 Info
    In cart Not available Out of stock
    /

Japanese Waves / Rainbow Road

Japanese Waves/Rainbow Road EP CD quality (16 bit 44.1 KHZ) FLAC version

Salt Lake Electric Ensemble

In cart Not available Out of stock

Note: This CD quality digital album 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.

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  1. 1 Japanese Waves 03:20 Info
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  2. 2 Rainbow Road 10:44 Info
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Karlheinz Stockausen: Set Sail for the Sun

Karlheinz Stockhausen: Set Sail for the Sun MP3 Version

Salt Lake Electric Ensemble

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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.

Read more… close
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  1. 1 Set Sail for the Sun 16:26
    In cart Not available Out of stock
    /

Karlheinz Stockhausen: Set Sail for the Sun CD Quality (16 bit 44.1 KHZ) FLAC Version

Salt Lake Electric Ensemble

In cart Not available Out of stock

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.

Read more… close
/
  1. 1 Set Sail for the Sun 16:26
    In cart Not available Out of stock
    /

Karlheinz Stockhausen: Set Sail for the Sun High Resolution (24 bit 96 KHZ) FLAC Version

Salt Lake Electric Ensemble

In cart Not available Out of stock

This music 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.

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.

Read more… close
/
  1. 1 Set Sail for the Sun 16:26
    In cart Not available Out of stock
    /

The Salt Lake Electric Ensemble Perform Terry Riley's In C

The Salt Lake Electric Ensemble Perform Terry Riley's In C: MP3 Version

Salt Lake Electric Ensemble

In cart Not available Out of stock

Few pieces of music straddle the divide between cultural artifact, radical manifesto of musical intention, and wide popularity like Terry Riley’s In C. Riley, American performer and composer (b. 1935), has pursued many avenues both in notated works and performing pure improvisation. While coming relatively early in his career, In C remains his most well known work. Written and premiered in 1964, it sounded a clarion call for a new musical language many critics and listeners would define as Minimalism. Certainly the circumstances of the premiere performance (held November 4th, 1964 at the San Francisco Tape Music Center) resonate with the zeitgeist of the burgeoning counterculture; a light show was projected along to the music, and audience members were invited to sit or stand in the venue and freely reposition themselves during the performance. Coming during a time of turbulent cultural and artistic change, In C pointed the way for many of the main practitioners of minimalism, including Steve Reich (who participated in the premiere as a performer), Philip Glass, and John Adams. Critic Janet Rotter called it “the global village’s first ritual symphonic piece.”

While a graduate student at Berkeley, Riley met composer La Monte Young, and was immediately enthralled by his innovative approach. Young’s groundbreaking String Quartet (1960) and the String Trio (1961) made striking use of sustained tones and static harmony, as well as the use of repetitive phrases.

Many scholars and critics regard minimalism as a direct reaction to the complexity of the Post-War generation of composers (eg.. Boulez, Berio, Stockhausen, Babbitt, Carter), and though In C definitely stands in sharp contrast to the working methods if not the ideology of the established 1960's avant-garde, it transformed those precursors in the presentation of a whole new aesthetic. What stand out are two key elements for the most part unimportant to the Post-War elite: pulse, and tonality.

Described simply, the score to In C contains fifty-three modules, taking up a single page. The modules vary from rhythmic lengths ranging from half a beat to 32 beats. These brief gestures are accompanied by equally sparse performance instructions, specifying an ensemble of any size and type of instrumental combination. Beginning with a steady pulse of eighth notes on the two high C’s of a piano, each performer begins on the first module and works through each of the fifty-three in sequence, repeating each module as many times as they would like before moving to the next. The Pulse continues throughout the entire performance, and later editions of the score even make it optional altogether (perhaps to address the original instruction that The Pulse be played by “a pretty girl”, also in recognition of the intense physical and mental demands it placed on that member of the ensemble). All editions of the printed score encourage the musicians to listen to the overall group, stressing that all members can be equally heard. A unique form of improvisation grows from this, where no single voice or soloist takes center stage. Players are encouraged to “occasionally” drop out entirely just to listen and reflect on their next entrance. After all members of the ensemble have reached the fifty-third module, each person remains on it, and “the group then makes a large crescendo and diminuendo a few times and each player drops out as he or she wishes.” When played well, each performance of In C abounds with polyrhythmic and metric shifts, subtle canonic relationships that build up and dissipate, and a free treatment of tonality that in some moments exhibit a strongly modal flavor. The dynamics and direction of the piece rely largely on the performers and how they react to each other during the performance. Finding new melodic and rhythmic “shapes” becomes one of the primary satisfactions for any ensemble familiar with the piece. A particularly fresh moment may be lingered on, and the group may often choose certain locations to sound in unison and effectively “re-set” the texture. Although the electric piano and synthesizer have figured in past recordings and performances of In C, this may be the first entirely electronic realization, certainly the first performed exclusively on laptops. The unique challenges compared with performance on conventional instruments stem from the enormous timbral palette available to each member of the group. Tones must be chosen that give clarity to the written pitches, yet still blend in a convincing whole. Terry Riley left the door open for just such an interpretation.

The Salt Lake Electric Ensemble deliver a fresh take on "In C" using the musical instruments of our time, laptop computers. Made up of a broad array of local visual artists and musicians, the performers of SLEE take advantage of the diverse tonal palette and rhythmic precision offered by modern technology. While traditional acoustic ensembles are limited by the finite number of acoustic instrumental timbres available to them, SLEE employs a software music performance environment that allows any of the performers to simultaneously sound multiple musical voices, allowing for dynamic increases and decreases in the density of sounding voices. These voices are carefully sculpted by drawing from a large existing library of electronic and sampled acoustic timbres, by modifying these existing sounds, or by designing completely new timbres from the ground up. Often voices are manipulated live, in real time. Adding the drive of a live percussion section and other traditional acoustic instruments, SLEE’s interpretation of "In C" is sure to appeal to fans of experimental rock, electronic/dance, and New Music.

Read more… close
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  1. 1 In C 01:05:56
    In cart Not available Out of stock
    /

The Salt Lake Electric Ensemble Perform Terry Riley's In C: CD Quality (16 bit 44.1KHZ) FLAC Version

Salt Lake Electric Ensemble

In cart Not available Out of stock

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.

Liner notes:

Few pieces of music straddle the divide between cultural artifact, radical manifesto of musical intention, and wide popularity like Terry Riley’s In C. Riley, American performer and composer (b. 1935), has pursued many avenues both in notated works and performing pure improvisation. While coming relatively early in his career, In C remains his most well known work. Written and premiered in 1964, it sounded a clarion call for a new musical language many critics and listeners would define as Minimalism. Certainly the circumstances of the premiere performance (held November 4th, 1964 at the San Francisco Tape Music Center) resonate with the zeitgeist of the burgeoning counterculture; a light show was projected along to the music, and audience members were invited to sit or stand in the venue and freely reposition themselves during the performance. Coming during a time of turbulent cultural and artistic change, In C pointed the way for many of the main practitioners of minimalism, including Steve Reich (who participated in the premiere as a performer), Philip Glass, and John Adams. Critic Janet Rotter called it “the global village’s first ritual symphonic piece.”

While a graduate student at Berkeley, Riley met composer La Monte Young, and was immediately enthralled by his innovative approach. Young’s groundbreaking String Quartet (1960) and the String Trio (1961) made striking use of sustained tones and static harmony, as well as the use of repetitive phrases.

Many scholars and critics regard minimalism as a direct reaction to the complexity of the Post-War generation of composers (eg.. Boulez, Berio, Stockhausen, Babbitt, Carter), and though In C definitely stands in sharp contrast to the working methods if not the ideology of the established 1960's avant-garde, it transformed those precursors in the presentation of a whole new aesthetic. What stand out are two key elements for the most part unimportant to the Post-War elite: pulse, and tonality.

Described simply, the score to In C contains fifty-three modules, taking up a single page. The modules vary from rhythmic lengths ranging from half a beat to 32 beats. These brief gestures are accompanied by equally sparse performance instructions, specifying an ensemble of any size and type of instrumental combination. Beginning with a steady pulse of eighth notes on the two high C’s of a piano, each performer begins on the first module and works through each of the fifty-three in sequence, repeating each module as many times as they would like before moving to the next. The Pulse continues throughout the entire performance, and later editions of the score even make it optional altogether (perhaps to address the original instruction that The Pulse be played by “a pretty girl”, also in recognition of the intense physical and mental demands it placed on that member of the ensemble). All editions of the printed score encourage the musicians to listen to the overall group, stressing that all members can be equally heard. A unique form of improvisation grows from this, where no single voice or soloist takes center stage. Players are encouraged to “occasionally” drop out entirely just to listen and reflect on their next entrance. After all members of the ensemble have reached the fifty-third module, each person remains on it, and “the group then makes a large crescendo and diminuendo a few times and each player drops out as he or she wishes.” When played well, each performance of In C abounds with polyrhythmic and metric shifts, subtle canonic relationships that build up and dissipate, and a free treatment of tonality that in some moments exhibit a strongly modal flavor. The dynamics and direction of the piece rely largely on the performers and how they react to each other during the performance. Finding new melodic and rhythmic “shapes” becomes one of the primary satisfactions for any ensemble familiar with the piece. A particularly fresh moment may be lingered on, and the group may often choose certain locations to sound in unison and effectively “re-set” the texture. Although the electric piano and synthesizer have figured in past recordings and performances of In C, this may be the first entirely electronic realization, certainly the first performed exclusively on laptops. The unique challenges compared with performance on conventional instruments stem from the enormous timbral palette available to each member of the group. Tones must be chosen that give clarity to the written pitches, yet still blend in a convincing whole. Terry Riley left the door open for just such an interpretation.

The Salt Lake Electric Ensemble deliver a fresh take on "In C" using the musical instruments of our time, laptop computers. Made up of a broad array of local visual artists and musicians, the performers of SLEE take advantage of the diverse tonal palette and rhythmic precision offered by modern technology. While traditional acoustic ensembles are limited by the finite number of acoustic instrumental timbres available to them, SLEE employs a software music performance environment that allows any of the performers to simultaneously sound multiple musical voices, allowing for dynamic increases and decreases in the density of sounding voices. These voices are carefully sculpted by drawing from a large existing library of electronic and sampled acoustic timbres, by modifying these existing sounds, or by designing completely new timbres from the ground up. Often voices are manipulated live, in real time. Adding the drive of a live percussion section and other traditional acoustic instruments, SLEE’s interpretation of "In C" is sure to appeal to fans of experimental rock, electronic/dance, and New Music.

Read more… close
/
  1. 1 In C 01:05:56
    In cart Not available Out of stock
    /

The Salt Lake Electric Ensemble Perform Terry Riley's In C: High Resolution (24 bit 44.1KHZ) FLAC Version

Salt Lake Electric Ensemble

In cart Not available Out of stock

Note: This high resolution digital file (24 bit 44.1KHZ) may require special hardware or software to play. If you're not sure if you can play this file, please contact us or purchase the MP3 version.

Liner notes:

Few pieces of music straddle the divide between cultural artifact, radical manifesto of musical intention, and wide popularity like Terry Riley’s In C. Riley, American performer and composer (b. 1935), has pursued many avenues both in notated works and performing pure improvisation. While coming relatively early in his career, In C remains his most well known work. Written and premiered in 1964, it sounded a clarion call for a new musical language many critics and listeners would define as Minimalism. Certainly the circumstances of the premiere performance (held November 4th, 1964 at the San Francisco Tape Music Center) resonate with the zeitgeist of the burgeoning counterculture; a light show was projected along to the music, and audience members were invited to sit or stand in the venue and freely reposition themselves during the performance. Coming during a time of turbulent cultural and artistic change, In C pointed the way for many of the main practitioners of minimalism, including Steve Reich (who participated in the premiere as a performer), Philip Glass, and John Adams. Critic Janet Rotter called it “the global village’s first ritual symphonic piece.”

While a graduate student at Berkeley, Riley met composer La Monte Young, and was immediately enthralled by his innovative approach. Young’s groundbreaking String Quartet (1960) and the String Trio (1961) made striking use of sustained tones and static harmony, as well as the use of repetitive phrases.

Many scholars and critics regard minimalism as a direct reaction to the complexity of the Post-War generation of composers (eg.. Boulez, Berio, Stockhausen, Babbitt, Carter), and though In C definitely stands in sharp contrast to the working methods if not the ideology of the established 1960's avant-garde, it transformed those precursors in the presentation of a whole new aesthetic. What stand out are two key elements for the most part unimportant to the Post-War elite: pulse, and tonality.

Described simply, the score to In C contains fifty-three modules, taking up a single page. The modules vary from rhythmic lengths ranging from half a beat to 32 beats. These brief gestures are accompanied by equally sparse performance instructions, specifying an ensemble of any size and type of instrumental combination. Beginning with a steady pulse of eighth notes on the two high C’s of a piano, each performer begins on the first module and works through each of the fifty-three in sequence, repeating each module as many times as they would like before moving to the next. The Pulse continues throughout the entire performance, and later editions of the score even make it optional altogether (perhaps to address the original instruction that The Pulse be played by “a pretty girl”, also in recognition of the intense physical and mental demands it placed on that member of the ensemble). All editions of the printed score encourage the musicians to listen to the overall group, stressing that all members can be equally heard. A unique form of improvisation grows from this, where no single voice or soloist takes center stage. Players are encouraged to “occasionally” drop out entirely just to listen and reflect on their next entrance. After all members of the ensemble have reached the fifty-third module, each person remains on it, and “the group then makes a large crescendo and diminuendo a few times and each player drops out as he or she wishes.” When played well, each performance of In C abounds with polyrhythmic and metric shifts, subtle canonic relationships that build up and dissipate, and a free treatment of tonality that in some moments exhibit a strongly modal flavor. The dynamics and direction of the piece rely largely on the performers and how they react to each other during the performance. Finding new melodic and rhythmic “shapes” becomes one of the primary satisfactions for any ensemble familiar with the piece. A particularly fresh moment may be lingered on, and the group may often choose certain locations to sound in unison and effectively “re-set” the texture. Although the electric piano and synthesizer have figured in past recordings and performances of In C, this may be the first entirely electronic realization, certainly the first performed exclusively on laptops. The unique challenges compared with performance on conventional instruments stem from the enormous timbral palette available to each member of the group. Tones must be chosen that give clarity to the written pitches, yet still blend in a convincing whole. Terry Riley left the door open for just such an interpretation.

The Salt Lake Electric Ensemble deliver a fresh take on "In C" using the musical instruments of our time, laptop computers. Made up of a broad array of local visual artists and musicians, the performers of SLEE take advantage of the diverse tonal palette and rhythmic precision offered by modern technology. While traditional acoustic ensembles are limited by the finite number of acoustic instrumental timbres available to them, SLEE employs a software music performance environment that allows any of the performers to simultaneously sound multiple musical voices, allowing for dynamic increases and decreases in the density of sounding voices. These voices are carefully sculpted by drawing from a large existing library of electronic and sampled acoustic timbres, by modifying these existing sounds, or by designing completely new timbres from the ground up. Often voices are manipulated live, in real time. Adding the drive of a live percussion section and other traditional acoustic instruments, SLEE’s interpretation of "In C" is sure to appeal to fans of experimental rock, electronic/dance, and New Music.

Read more… close
/
  1. 1 In C 01:05:56
    In cart Not available Out of stock
    /