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Smaller groups are the norm nowadays, and the Dundalk performance had just seven, all of them traditional Irish musicians – Zoë Conway, Paddy Glackin, Dónal Lunny, Louise and Michelle Mulcahy, Mick O’Brien and Máirtín O’Connor – with the sound of Lunny’s bouzouki providing the constant pulsing, though in a manner that was often cunningly decorated.
In C may have been cutting edge in the mid-1960s, but there’s also a sense in which it is a throwback to earlier centuries, when public concerts were rare and music was written primarily for the performers – in this case, especially those with the appetite for unpredictability. On Saturday the timbre of the instruments alone would have made for a sound world probably unique in the work’s history. But also, on this occasion, the composer gave the players specific licence to do a bit of what they normally do, in terms of bending notes to their own taste and, beyond that, departing from the text to sidestep into some actual Irish tunes. It’s easy to imagine that the unusually genial composer would have loved it every bit as much as the audience clearly did.
Source: Entertainment Trends (entertainmenttrends.net)
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