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.

Where Varèse lived

Captured in New York City with snow on the streets after a winter storm, views of the house where Edgard and Louise Varèse lived.

Where Varèse lived

Captured in New York City with snow on the streets after a winter storm, views of the house where Edgard and Louise Varèse lived.

Ensemble Klang’s Colors and Melodies

The recent arrival of Goebbels’ Walden sparked revisiting a few prior Ensemble Klang albums.

Ensemble Klang’s Colors and Melodies

The recent arrival of Goebbels’ Walden sparked revisiting a few prior Ensemble Klang albums.

Atopos Survey 1. / Italian Vacation 11. / Piano Factory 12.

Although Atopos has been around for over a decade, I’ve only just discovered them. The emphasis is of course Italian, the sensibility suggesting various late-20th century Italians taking cues from European (Darmstadt) and American (Cage, Feldman, et al.) trends.

Atopos Survey 1. / Italian Vacation 11. / Piano Factory 12.

Although Atopos has been around for over a decade, I’ve only just discovered them. The emphasis is of course Italian, the sensibility suggesting various late-20th century Italians taking cues from European (Darmstadt) and American (Cage, Feldman, et al.) trends.

Concerto Concentrations 2.

Commissioned by Myers to commemorate his mother’s passing, McLean provides a particularly expressive tonal work, a welcome cross between Barber and John Adams… The Shostakovich arrangement is the biggest effort, difficult all around.

Concerto Concentrations 2.

Commissioned by Myers to commemorate his mother’s passing, McLean provides a particularly expressive tonal work, a welcome cross between Barber and John Adams… The Shostakovich arrangement is the biggest effort, difficult all around.

(Dis)Arrangements 3:
Shostakovich Preludes

To accompany their Brandenburg Concerto release, Ensemble Caprice’s director arranged six preludes and one fugue from Op. 87 in complementary instrumentation. It doesn’t sound like Shostakovich – more like polytonal Rameau.

(Dis)Arrangements 3:
Shostakovich Preludes

To accompany their Brandenburg Concerto release, Ensemble Caprice’s director arranged six preludes and one fugue from Op. 87 in complementary instrumentation. It doesn’t sound like Shostakovich – more like polytonal Rameau.

Mostly Symphonies 25.

Until recently, Cerha’s Spiegel was easier to see than to hear.

Mostly Symphonies 25.

Until recently, Cerha’s Spiegel was easier to see than to hear.

Concerto Concentrations 1.

Of course Bolcom’s Concerto Grosso for saxophone quartet and orchestra is going to be good.

Concerto Concentrations 1.

Of course Bolcom’s Concerto Grosso for saxophone quartet and orchestra is going to be good.

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Falstaff Stands Tall

Falstaff is the bonus opera of Verdi’s long career, a comedy capping the final string of dramas.

Falstaff Stands Tall

Falstaff is the bonus opera of Verdi’s long career, a comedy capping the final string of dramas.

Piano Factory 11.

Finnissy’s huge and nigh impenetrable opus suggests that music may comment only upon itself.

Piano Factory 11.

Finnissy’s huge and nigh impenetrable opus suggests that music may comment only upon itself.