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From the minute 23’ Edler-Copes speaks about IN C+50 (in French)

« Aurélio Edler-Copes a réalisé une version passionnante de cette partition hypnotique —In C, pour guitare électrique et électronique en temps réel. »  Jean Lukas (La Terrasse)

IN C+50  selected as CD of the week by the journal LE MONDE !

« The result is extremely rich technically, expressively and aesthetically for Terry Riley's famous In C (1964). Realized with an electric guitar and "17 spatialized virtual delays", the version recorded by Edler-Copes gives thanks to all the implications of the fetish partition of minimalism. Including in the field of rock, some sounds reminiscent of the tribute song Who: Baba O'Riley. »

Pierre Gervasoni

( Le Monde, October 6th 2017 )

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« In the half-century and more of its existence, Terry Riley’s In C (1964) has been recorded by ensembles of Chinese instruments and of Afro-European, by groups of keyboards, of flutes and of saxophones, and by at least two teams of singers and percussionists, as well as by the mixed array of the original version, made in the banner year of 1968. Aurélio Edler-Copes, however, gives us something new, drawing all the sounds cleanly and clearly from an electric guitar. No less important than the source is the personnel, the fact that everything here is being created by a single musician. A work that, when it was new, spoke not only of harmonic consonance but also of human accord, with diverse musicians joining in the one flow, now means something different.


The liveliness, the energy compacted into each sound, may make it appear that this music, at once very slow in harmonic change and very fast in surface rhythm, is self-generating, being woven by the notes themselves. But then as we listen, as when we look at those drawings that can be understood two ways, we may find our perception flipping from the objective to the subjective, to an awareness of the musician as prime cause. Of course, the musician’s performance, his presence, is itself something twin. What we hear, as we are drawn through the piece, is a perfect union of live and electronically reproduced sound, of the human and the digital – a metaphor as true to today’s world as group solidarity was to that of half a century ago. »

Paul Griffiths

(Music Critic - The Times, The New Yorker, The NY Times)

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