Editing In C (section)

==Performances==
Terry Riley and a small group of players began trying out ''In C'' at house concerts around San Francisco in the fall of 1964. One of the issues that quickly emerged was coordinating the players. [[Steve Reich]] suggested using an 8th note pulsing rhythm to keep the ensemble together. Though Riley envisioned the piece without a prevailing rhythm, he agreed to the utility of Reich's solution.<ref name=Carl>[[Robert Carl|Carl, Robert]]. ''Terry Riley's in C''. From ''Studies in Musical Genesis, Structure, and Interpretation'', Edited by [[Malcolm Gillies]]. Oxford University Press, 2009.</ref>{{rp|43–4}}

The piece was premiered on November 4, 1964 during "An Evening of Music by Terry Riley"  at the [[San Francisco Tape Music Center]].<ref>[https://www.theguardian.com/music/tomserviceblog/2013/jan/28/terry-riley-contemporary-music-guide "A guide to Terry Riley's music"] by [[Tom Service]], ''[[The Guardian]]'', 29 January 2013</ref><ref>[https://www.mixcloud.com/RadioEclectus/radio-eclectus-039-stuart-dempster-interviewed-apr-9-2020/ "Radio Eclectus: Stuart Dempster interviewed by Michael Schell"], April 9, 2020</ref> ''Music from the Gift'' was played as the audience arrived. The first half included Riley's ''I'', ''Shoeshine'', ''In B{{music|flat}} or Is It A{{music|flat}}?'', and ''COULE''.<ref name=Carl/>{{rp|49}}

There was a break to set up ''In C''. In addition to the musicians, [[Tony Martin (artist)|Tony Martin]] projected a light show on the ceiling. At one piano, Jeanie Brechan pulsed the top two Cs above Terry Riley who shared the instrument. Warner Jepsen and James Lowe played a second piano. The other keyboard instruments were played by [[Steve Reich]] ([[Wurlitzer electronic piano]]), [[Pauline Oliveros]] ([[accordion]]), and [[Ramón Sender (composer)|Ramón Sender]] ([[Chamberlin]] organ, male voice setting). The Chamberlin was housed in a recording studio upstairs from the concert space. Audio was piped up to Sender in order to coordinate. The wind section included [[Mel Weitsman]] ([[Recorder (musical instrument)|sopranino recorder]]), [[Morton Subotnick]] ([[clarinet]]), [[Jon Gibson (minimalist musician)|Jon Gibson]] ([[soprano saxophone]]), Sonny Lewis ([[tenor saxophone]]), Stan Shaff, and Phil Winsor ([[trumpet]]s).<ref name=Carl/>{{rp|43–6}} Oliveros recalls that the ensemble performed at a stately tempo of 69 beats per minute.<ref name=Carl/>{{rp|50}}

The concert was repeated two days later. [[Alfred Frankenstein]] reviewed the November 6th performance for the ''[[San Francisco Chronicle]]''. He raved, "'On C' was the evening's masterpiece, and I hope the same group does it again." He wrote:<blockquote>At times you feel you have never done anything all your life long but listen to this music and as if that is all there is or ever will be, but it is altogether absorbing, exciting, and moving, too. One is reminded of the efforts of [[Carlos Chávez|Carlos Chavez]] to reconstitute the ceremonial music of pre-Columbian Mexico. Terry Riley may have captured more of its spirit than Chavez did.<ref name=VF>[[Alfred Frankenstein|Frankenstein, Alfred]]. "Music Like None Other on Earth", ''[[San Francisco Chronicle]]''. November 8, 1964. 28.</ref></blockquote>

After the premiere, Riley headed to Mexico for three months.<ref name=Duck/>{{rp|274}} ''In C'' was performed again at the Center the following spring during a three day festival of Riley's music from May 25–7, 1965.<ref>Tom Welsh, “Chronology” in David Bernstein, ed., ''The San Francisco Tape Music Center: 1960s Counterculture and the Avant‐Garde''. [[University of California Press]], 2008. 239.</ref>

The New York City premiere took place at Carnegie Recital Hall on December 19, 1967 on a program with [[Igor Stravinsky]]'s ''[[Octet (Stravinsky)|Octet]]'' and works by [[Harley Gaber]] and Dorrit Licht. The performance reminded ''New York Times'' critic [[Donal Henahan]] of [[Alban Berg]]'s Invention on One Note in ''[[Wozzeck]]'', and he admired the ensemble's "[[Gamelan|gamenlanlike]] sonorities". He continued, "Mr. Riley's effort produced a happy din, which was at worst hypnotic and often fascinating in its multilayered rhythms and sound patterns. One observed with compassion that the woman pianist, whose duty was to pound one note throughout, wore gloves. It put one in mind of [[Hildegarde]]."<ref name=NYT67>[[Donal Henahan|Henahan, Donal]]. "[https://nyti.ms/4im6OUO New-Music Series Puts Toes to Test: Audience Exhorted to Walk Around—Some Don't Stop]", ''[[The New York Times]]''. December 20, 1967. 55.</ref>

The pianist was Margaret Hassell, and she wore bandages on her fingers underneath the gloves to pad them for the exertion of the part.<ref name=Carl/>{{rp|81}} [[Lukas Foss]] had arranged speakers throughout the venue so the music could be heard from multiple vantage points, and the audience was encouraged to circulate during the piece.<ref name=NYT67/>
[[File:Music Now May 1968 Prog Pg1.jpg|thumb|upright=1.4|Program from first UK performance, May 1968]]
The first UK performance of ''In C'' was on 18 May 1968 at [[Royal Institute Galleries]] by the Music Now Ensemble directed by [[Cornelius Cardew]].<ref>Programme for the Cornelius Cardew Ensemble, Royal Institute Galleries. (1968)</ref><ref>{{Cite book|chapter=4. Systems and Other Minimalism in Britain|last=Anderson|first=Virginia|date=2013|title=The Ashgate Research Companion to Minimalist and Postminimalist Music|editor1=Keith Potter|editor2=[[Kyle Gann]]|editor3=[[Pwyll ap Siôn]]|location=Farnham, Surrey|publisher=Ashgate|isbn=9781472402783}}</ref> The performance was aggressively driven by an electric guitar playing the pulse loud and fast. ''[[The Musical Times]]'' found it "rewarding" and wrote, "whereas previous performances of Riley's work have tended to be delicate, full of barely perceptible intricacies for the relaxed mind to absorb, this one was totally uncompromising. It demanded a fight".<ref>Philips, Jill. "Music in London", ''[[The Musical Times]]'' vol. 109, no. 1505, July 1968. 644–645. {{JSTOR|952710}}</ref>

[[Alexei Lubimov]] organized the Soviet premiere of ''In C'' in 1969 for an audience that included [[Sofia Gubaidulina]] and [[Alfred Schnittke]].<ref name=Repit>Repetitition Orchestra, ''Terry Riley''. Liner notes. Long Arms Record CDLA 01033, 2001.</ref> The piece also received its German premiere that year at the [[Darmstädter Ferienkurse]]. [[Wolf-Eberhard von Lewinski]] was relieved when the piano strings broke under the stress of the pulse, but the neighboring B strings had been tuned up a half step and the work continued to his dismay.<ref>[[Wolf-Eberhard von Lewinski|Lewinski, Wolf-Eberhard von]]. "Kranichsteiner Talfahrt 1969", ''Melos'' 36. October, 1969. 429ff.</ref> This [[scordatura]] had also been used at previous performances.<ref name=Carl/>{{rp|81}}

[[Oakland Symphony]] performed the first orchestral version of ''In C'' in 1970. Six months later, [[San Francisco Ballet]] used many of the same musicians to perform Riley's score for a production called ''Genesis 70'' choreographed by Carlos Carvajal.<ref name=Hill>Hill, Sarah. ''San Francisco and the Long 60s''. Bloomsbury Academic, 2016. 277f.</ref>

A 25th anniversary concert was held on January 14, 1990 at the [[Fort Mason#Current uses|Fort Mason Center]] in [[San Francisco]]. Riley and his son [[Gyan Riley|Gyan]] performed in an eclectic group that included [[Jaron Lanier]]. Ramón Sender and Warner Jepsen also performed. The lineup included [[Kronos Quartet]], and Riley was particularly fond of the way they [[Portamento|slid into the notes]] of the musical fragments.<ref name=Duck/>{{rp|279}} The performance was recorded and released on CD in 1995.<ref>Terry Riley, ''[https://www.discogs.com/release/1263216-Terry-Riley-In-C-25th-Anniversary-Concert In C – 25th Anniversary Concert]''. New Albion, 1995.</ref>