To many minds, Terry Riley’s In C stands as the shot across the bow of minimalism in music. Loosed on an unwitting world in 1964, the score (if that’s the word) is not so much a composition as a recipe meant to be prepared, as chefs say, “to taste.” The ingredients are melodic fragments an indeterminate number of musicians are instructed to repeat as many times as they like. Riley suggested that a complement of 35 players might be nice. A Wikipedia spreadsheet of recordings lists more than three dozen with very different configurations. The shortest runs about 15 minutes, the longest closer to 80. Now the cellist Maya Beiser, who is a law unto herself, recreates this amœbic monument as a techno tour de force full of intersecting electronic drones and loops. Her multi-cello CD, which drops this month, promises “a hypnotic, rapturous soundscape.” The live performance at National Sawdust, augmented by drummers and whizbang site-specific sound design, should be even more so. —Matthew Gurewitsch