Two Miles High Music

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: RILEY,T.Title: RAINBOW IN CURVED/POPPY NOGOODStreet Release Date: 03/14/1988

Riley is one of the granddaddies of Minimalism. His early music, In C and the two works on this disc, brought to light the musical possibilities of rapid-fire notation and shifting sonic textures to a new form of music. Riley has done this primarily through electronic keyboards and computer technology. The composer plays all the instruments on this extraordinary disc: electric organ, electric harpsichord, "rocksichord," dumbec, tambourine, and soprano saxophone. The music is spooky and hypnotic and is an early masterpiece in the genre. It belongs in the collections of anyone interested in late 20th century American music. --Paul Cook

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: RILEY,T.Title: SHRI CAMELStreet Release Date: 03/07/1988

Riley is one of the founders of Minimalism. His music tends to be for soloist (usually himself) playing a barrage of electronic instruments. The works on this disc hail from the mid-seventies, when Riley began to dabble with Eastern modalities, mostly Indian ragas that strive for swara, a transcendental state reached through perfect pitch. Along the way, notes will clash and (to our ears) sound like performance mistakes. These are the product of Riley's overlapping Eastern modalities with Western modalities, often in the same measure. Riley travels farther afield in his music than other Minimalists do, but it's worth the journey. --Paul Cook

The Harp of New Albion is a transfixing solo piano recording, conceived and performed by world-renowned minimalist composer, the ever-innovative Terry Riley. His inspiration for this work came from a legendary harp, left behind in the New World in 1579, on the shores of Nova Albion, which is now called San Francisco Bay. A Native American medicine man is said to have found the harp and placed it on a cliff where the westerly winds played upon it and temperature and humidity changes created an ever-shifting set of tonalities. Riley bases the ten movements of The Harp of New Albion on the concept of tonalities. The liner notes explain the complicated ratios Riley devised for tuning his octaves. He says, "The idea of piano as harp influences my method of playing, as does the tuning from which the particular consonances and dissonances determine the emerging energies that flow through both instrument and performer." Although Riley improvises throughout The Harp of New Albion, each movement is defined by structural or composed elements. Astonishingly, the halo of harmonics drifting above his solo piano creates an orchestral sound, complete with horns, reeds, strings and voices. At times, the melodic interplay is ethereal, the micro-tonal relationships within the standing waves of sounds creating a haunting spectrum. Special note should be taken of the majestic Bosendorfer Imperial grand piano, especially tuned for Riley to play in the acoustically-fabulous Academy of Music in Munich, Germany. The entire recording was accomplished during one incredible night of inspired piano performance.

Lisbon Concert by Terry RileyThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

In 1964, Terry Riley kicked off a revolution with his landmark piece, "In C" -- inspiring such young composers as Philip Glass and Steve Reich. Now, Bang on a Can reinterprets this minimalist claassic with an explosive combination of instruments from around the globe, propelling this transcendental 60's masterpiece into the future.

Bang on a Can prove once again why they're one of the most exciting New Music ensembles performing today with this riveting version of Terry Riley's In C. There are a handful of recordings available of this minimalist masterpiece, but Bang on a Can's--featuring violin, chimes, clarinet, mandolin, and bass at the fore--is easily one of the best. The delicate tremolo of Scott Kuney's mandolin gives the entire recording a nervous energy that's much needed on this New Music warhorse. The piercing violin of Todd Reynolds is haunting, and Mark Stewart's electric guitar gives the ensemble added sonic punch. Throughout, Bang on a Can sound less like they're jamming and more like a taut musical machine bursting at the seams, running through Riley's motifs with abandon. It's a new, slightly ominous take on In C, but one that was much needed. Recommended. --Jason Verlinde