Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
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  • Load image into Gallery viewer, Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
  • Load image into Gallery viewer, Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
  • Load image into Gallery viewer, Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931
  • Load image into Gallery viewer, Dylan Henner - Great Prairie Plains: Studies of American Minimalism - ElMuelle1931

Dylan Henner - Great Prairie Plains: Studies of American Minimalism

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Dauw / Belgium / 2021 / CS

The album starts with an arrangement of Terry Riley's In C. During his school-time, Henner was allowed by his music teacher - with plenty of persuasion, in an environment of mostly much straighter classical music - to study this piece. He not only had a deep familiarity with it, but also the pdf scores that he transcribed for his homework. The arrangement was created mostly with the marimba, as an instrument that can layer very deeply without muddying the frequency range and also includes some synths, piano and a VST choir.

“I tried to balance my boundless admiration for the piece with a personalised arrangement. It would be pointless to copy Riley's original - it's too good - but I can at least try to do well by it.”

Alongside In C is an arrangement of Su Tissue's 2nd Movement, from her near-mythical "lost" album Salon de Musique. After trying to buy a copy of this record for years - they are so scarcely found he suspects he never will – Henner wondered if the next best thing would be - instead of owning a copy - to create his own copy. He started this arrangement with as much faith as he could. According to Henner, Su’s work is too rare to warrant changing, but instead should be honoured with autencitiy.

“It's not until the end of the piece that my arrangement begins to take a different shape to Su's. Once I started playing along on the piano, the rest fell into place.”