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.

Mostly Symphonies 23.

Presumably Russians have an emotional view into the symphony that Shostakovich began composing during the siege of Leningrad. Compared to his earlier recording, Gergiev is mellower, with the Mariinsky sounding warmer and more sensitive.

Mostly Symphonies 23.

Presumably Russians have an emotional view into the symphony that Shostakovich began composing during the siege of Leningrad. Compared to his earlier recording, Gergiev is mellower, with the Mariinsky sounding warmer and more sensitive.

Pièces de Clavecin 7.

Arriving at Kim’s D’Anglebert selections after Marchand, Le Roux and Février feels like coming home. I have never listened as closely or enjoyed D’Anglebert as much.

Pièces de Clavecin 7.

Arriving at Kim’s D’Anglebert selections after Marchand, Le Roux and Février feels like coming home. I have never listened as closely or enjoyed D’Anglebert as much.

NMC Ramble

Highlights of Davies’ nine-piece collection include Isis in which a leading saxophone gesticulates enthusiastically albeit fruitlessly over a 15-person chamber orchestra.

NMC Ramble

Highlights of Davies’ nine-piece collection include Isis in which a leading saxophone gesticulates enthusiastically albeit fruitlessly over a 15-person chamber orchestra.

Mostly Symphonies 22.

Intended as a response to Brahms’ four, this symphony could be the primordial soup from which Hamburg’s greatest son emerged.

Mostly Symphonies 22.

Intended as a response to Brahms’ four, this symphony could be the primordial soup from which Hamburg’s greatest son emerged.

Even Further Aperghis Sightings

Perhaps the world has come around to Aperghis’ way of thinking… No question about it, we need more DVDs of Aperghis’ work.

Even Further Aperghis Sightings

Perhaps the world has come around to Aperghis’ way of thinking… No question about it, we need more DVDs of Aperghis’ work.

Three Tiensuus

Modern music tends to be aggressive with soured dissonance. Tiensuu finds a playful, less ponderous route.

Three Tiensuus

Modern music tends to be aggressive with soured dissonance. Tiensuu finds a playful, less ponderous route.

Michel Chion (EA Bucket 18.)

Michel Chion (b. 1947) is one of the all-time best ea composers. In 2010 Nuun brought out 500 copies of Diktat (1979) and Brocoli’s La vie en prose was released last year.

Michel Chion (EA Bucket 18.)

Michel Chion (b. 1947) is one of the all-time best ea composers. In 2010 Nuun brought out 500 copies of Diktat (1979) and Brocoli’s La vie en prose was released last year.

Mostly Symphonies 21.

Salonen’s 20-minute Nyx churns quickly, but the less frequently recorded Dutilleux sticks in the mind.

Mostly Symphonies 21.

Salonen’s 20-minute Nyx churns quickly, but the less frequently recorded Dutilleux sticks in the mind.

Luc and Brunhild (EA Bucket 17.)

Like a spouse appointed to complete a decedent politician’s term, so has Brunhild picked up Luc’s work.

Luc and Brunhild (EA Bucket 17.)

Like a spouse appointed to complete a decedent politician’s term, so has Brunhild picked up Luc’s work.

EA Bucket 16.

Passing across the originals suggests that Ring has found pearls in emphasizing the quartal, Bartók-like aspects of Holmboe’s language.

EA Bucket 16.

Passing across the originals suggests that Ring has found pearls in emphasizing the quartal, Bartók-like aspects of Holmboe’s language.