In the performing directions for In C, Terry Riley suggests that “the ensemble can be aided by the means of an eighth note pulse played on the high c’s of the piano or on a mallet instrument.” My offering on the occasion of Terry Riley’s 80th birthday, a prelude for piano, imagines In C as emerging from the resonance of the piano. The pianist performs this resonant solo before arriving upon the iconic high c’s of In C.
Described by The New Yorker as “empowered by modern technology but haunted by a spirit of immemorial darkness,” The Boston Globe portrays Keeril Makan as a composer “whose music deserves to be more widely heard.” Recipient of a Guggenheim Fellowship and the Luciano Berio Rome Prize from the American Academy in Rome, he has also received awards from the American Academy of Arts and Letters, the Howard Foundation, the Fromm Foundation, New Music USA, Meet the Composer, the Aaron Copland House, the Utah Arts Festival, the Fulbright Program, and ASCAP. His work has been commissioned by the Bang on a Can All-Stars, American Composers Orchestra, Harvard Musical Association, and Carnegie Hall, among others. His CDs, In Sound (Tzadik), Target (Starkland), Afterglow (Mode) and Letting Time Circle Through Us (New World) include performances by the Kronos Quartet, Either/Or, and the International Contemporary Ensemble. Schott is publishing his compositions. Makan is Professor of Music at MIT.