Grant Chu Covell

Managing Editor Grant Chu Covell works in the Boston area for a global technology company that made hardware which Xenakis and Babbitt used to good effect. His music reviews have appeared in EAR Magazine and InMusic, and he was the publisher of The Periodic Journal of Bibliography (1990-95). A short article on a work for piano and tape is in the Csound Magazine. His instrumental and electroacoustic music has been performed in the U.S. and abroad, and he has shared too many CDs of his music with family and friends (one work was recorded in a refrigerator). Two electroacoustic works have appeared in commercial compilations: Presence III and The Door Project. A recent CD can be found here. A long departed family dog’s name was taken from a character in Wagner’s Ring.

String Theory 19: Mostly Cello

Pieces requiring retuning or scordatura have a modest foothold in the literature. It is very unusual to encounter works where strings are adjusted while playing, but several specimens fill out Ballon’s bold recital.

String Theory 19: Mostly Cello

Pieces requiring retuning or scordatura have a modest foothold in the literature. It is very unusual to encounter works where strings are adjusted while playing, but several specimens fill out Ballon’s bold recital.

Piano Factory 16. / (Dis)Arrangements 9: Liszt and Wagner

Liszt’s last pieces reflect little interest in pyrotechnics or showy glamour. They are curious about harmony and the spiritual world; some touch on historical subjects, but most all are reflective, even world-weary.

Piano Factory 16. / (Dis)Arrangements 9: Liszt and Wagner

Liszt’s last pieces reflect little interest in pyrotechnics or showy glamour. They are curious about harmony and the spiritual world; some touch on historical subjects, but most all are reflective, even world-weary.

(Dis)Arrangements 8: More Schubert

Schubert left no concertos, but we do have Liszt’s overstuffed quasi-symphonic Fantasy for piano and orchestra.

(Dis)Arrangements 8: More Schubert

Schubert left no concertos, but we do have Liszt’s overstuffed quasi-symphonic Fantasy for piano and orchestra.

Italian Vacation 14.

To say Aldo Clementi uses canons, is like saying Wagner wrote operas or that Beethoven was good at variations.

Italian Vacation 14.

To say Aldo Clementi uses canons, is like saying Wagner wrote operas or that Beethoven was good at variations.

Italian Vacation 13.

In Verrando’s universe, noise enriches but does not obliterate.

Italian Vacation 13.

In Verrando’s universe, noise enriches but does not obliterate.

Utopian Listening: Reinvigorating Nono in America

Years from now, we will look back at a conference held in Boston at the end of March 2016 as the defining event that reinvigorated worldwide – American especially – interest in the work of Luigi Nono.

Utopian Listening: Reinvigorating Nono in America

Years from now, we will look back at a conference held in Boston at the end of March 2016 as the defining event that reinvigorated worldwide – American especially – interest in the work of Luigi Nono.

(Dis)Arrangements 7: Beethoven

This Ninth is fascinating, hugely musical, a testament to Beethoven and Liszt’s combined brilliance.

(Dis)Arrangements 7: Beethoven

This Ninth is fascinating, hugely musical, a testament to Beethoven and Liszt’s combined brilliance.

String Theory 18: Bundled Quartets and a few Trios

I imagine that Gorton enjoys a good joke. In Fosdyke Wash, a sighing cello part is marked “like distant agricultural machinery.” At that point, the cello sounds like a mewling chainsaw at a far remove.

String Theory 18: Bundled Quartets and a few Trios

I imagine that Gorton enjoys a good joke. In Fosdyke Wash, a sighing cello part is marked “like distant agricultural machinery.” At that point, the cello sounds like a mewling chainsaw at a far remove.

Feldman’s SQ2 in Boston

There were rubberneckers who wandered in for shorter periods to catch a lingering glimpse of this anomaly, but about 80 of us stuck through to the transcendent end.

Feldman’s SQ2 in Boston

There were rubberneckers who wandered in for shorter periods to catch a lingering glimpse of this anomaly, but about 80 of us stuck through to the transcendent end.

Henze, Abrahamsen and Tsontakis with the BSO

I may have been the only person at Symphony Hall in Boston on a Saturday evening last month more eager to hear Henze than the preceding Weber or subsequent Mendelssohn.

Henze, Abrahamsen and Tsontakis with the BSO

I may have been the only person at Symphony Hall in Boston on a Saturday evening last month more eager to hear Henze than the preceding Weber or subsequent Mendelssohn.