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.

Looking for Pettersson,
Stumbling across Locatelli

Here’s another installment in what’s becoming a series on composers’ haunts and memorials.

Looking for Pettersson,
Stumbling across Locatelli

Here’s another installment in what’s becoming a series on composers’ haunts and memorials.

Thierry Pécou

Like Messiaen and Vivier, Pécou employs Western instruments and structures yet reflects other music. This Parisian with Caribbean ancestry (b. 1965) also perpetuates the crystal palette of Ravel, Dutilleux and Boulez in orchestral and chamber works.

Thierry Pécou

Like Messiaen and Vivier, Pécou employs Western instruments and structures yet reflects other music. This Parisian with Caribbean ancestry (b. 1965) also perpetuates the crystal palette of Ravel, Dutilleux and Boulez in orchestral and chamber works.

String Theory 10: 23 Quartets, etc.

Schnittke’s four make a mismatched family.

String Theory 10: 23 Quartets, etc.

Schnittke’s four make a mismatched family.

Graceful Illusionist: Gerard Pesson

It would be cruel to call Gérard Pesson the Französisch Lachenmann (or the francese Sciarrino).

Graceful Illusionist: Gerard Pesson

It would be cruel to call Gérard Pesson the Französisch Lachenmann (or the francese Sciarrino).

Mostly Symphonies 20.

Exuberant performances propel charming, uncomplicated music. Look beyond the Ruslan and Lyudmila Overture and hear why later compatriots heralded Glinka as Russian music’s father.

Mostly Symphonies 20.

Exuberant performances propel charming, uncomplicated music. Look beyond the Ruslan and Lyudmila Overture and hear why later compatriots heralded Glinka as Russian music’s father.

String Theory 9: 30 Quartets, etc.

As we’d expect from a seasoned musician, Ramsay’s quartets reveal a deep understanding of and admiration for the genre’s giants.

String Theory 9: 30 Quartets, etc.

As we’d expect from a seasoned musician, Ramsay’s quartets reveal a deep understanding of and admiration for the genre’s giants.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

String Theory 8 / EA Bucket 14: 29 Quartets, etc.

Prokofiev’s awkward First provides fodder for insipid remixes.

String Theory 8 / EA Bucket 14: 29 Quartets, etc.

Prokofiev’s awkward First provides fodder for insipid remixes.

String Theory 7: 32 Quartets, etc.

Naxos’ third installment of Coates’ quartets delivers what appears to be her most recent quartet.

String Theory 7: 32 Quartets, etc.

Naxos’ third installment of Coates’ quartets delivers what appears to be her most recent quartet.

Piano Factory 8. (D. 840)

In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).

Piano Factory 8. (D. 840)

In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).