Managing Editor Grant Chu Covell works in the Boston area. He once worked for a global technology company that made hardware which Xenakis and Babbitt used to good effect. He was the publisher of the brilliant but forgotten The Periodic Journal of Bibliography (1990-95), and his music reviews have appeared in EAR Magazine and InMusic. His instrumental and electroacoustic music has been performed in the U.S. and abroad, and he has shared many CDs of his music with family and friends (one piece was recorded in a refrigerator). A short article about a composition he wrote for piano and tape can be found in the Csound Magazine. Two electroacoustic works have appeared in commercial compilations: Presence III and The Door Project. A recent CD can be found here, and another is in preparation. A long departed family dog’s name was taken from a character in Wagner’s Ring.
Grant Chu Covell
Maestro di Suoni e Silenzi: Necessary Nono 6.
It would seem Nono continued to be frustrated with the world, and that he implores us to do better, and, crucially, to listen better and to participate better.
Maestro di Suoni e Silenzi: Necessary Nono 6.
It would seem Nono continued to be frustrated with the world, and that he implores us to do better, and, crucially, to listen better and to participate better.
String Theory 38: Nineteen String Quartets
Two quartets deliver a seven-installment series by Kalabis.
String Theory 38: Nineteen String Quartets
Two quartets deliver a seven-installment series by Kalabis.
Piano Factory 31. / (Dis)Arrangements 15.
Bach’s lines continue to soar enhanced with Febel’s chiaroscuro and highlights. Just as there will be those who will be horrified at Febel’s invention, there will be those who may never wish it to end.
Piano Factory 31. / (Dis)Arrangements 15.
Bach’s lines continue to soar enhanced with Febel’s chiaroscuro and highlights. Just as there will be those who will be horrified at Febel’s invention, there will be those who may never wish it to end.
Pièces de Clavecin 14. / Italian Vacation 16.
Frammenti del discorso amoroso is especially, practically perfectly, rich with fluid tempos and expression.
Pièces de Clavecin 14. / Italian Vacation 16.
Frammenti del discorso amoroso is especially, practically perfectly, rich with fluid tempos and expression.
Maestro di Suoni e Silenzi: Necessary Nono 5.
This big-little piece asks for a contralto, flute (piccolo and bass flute), tuba, and a percussion sextet playing Sardinian bells, crotales and bongos, but also some complicated live electronic processing.
Maestro di Suoni e Silenzi: Necessary Nono 5.
This big-little piece asks for a contralto, flute (piccolo and bass flute), tuba, and a percussion sextet playing Sardinian bells, crotales and bongos, but also some complicated live electronic processing.
Ramble, with Skeletons
An algorithm plays samples from eight analog synthesizers, the skeletons in Applebaum’s closet
Ramble, with Skeletons
An algorithm plays samples from eight analog synthesizers, the skeletons in Applebaum’s closet
Mostly Symphonies 41. / (Dis)Arrangements 14: Beethoven X
It’s arrogant to have gone straight for Beethoven’s Tenth.
Mostly Symphonies 41. / (Dis)Arrangements 14: Beethoven X
It’s arrogant to have gone straight for Beethoven’s Tenth.
Mostly Symphonies 40.
Röntgen wrote 24 symphonies, many of them relatively short and written incredibly quickly.
Mostly Symphonies 40.
Röntgen wrote 24 symphonies, many of them relatively short and written incredibly quickly.
Ramble with Hair Dryers, Crumbs and Puccini’s Rifle
In Lanza and Valle’s four-part opus, toys, kitchen gadgets and broken machines combine with non-standard instrumental sounds.
Ramble with Hair Dryers, Crumbs and Puccini’s Rifle
In Lanza and Valle’s four-part opus, toys, kitchen gadgets and broken machines combine with non-standard instrumental sounds.
Piano Factory 30.
Situated in the high register, like a music box, a delicate irregular chiming pattern repeats in Harman’s 371 Chorales.
Piano Factory 30.
Situated in the high register, like a music box, a delicate irregular chiming pattern repeats in Harman’s 371 Chorales.
(Dis)Arrangements 13. / Scarlatti para siempre 3.
It is fascinating to see which composers and performers felt it necessary to enhance the Baroque master, and which were content to simply orchestrate.
(Dis)Arrangements 13. / Scarlatti para siempre 3.
It is fascinating to see which composers and performers felt it necessary to enhance the Baroque master, and which were content to simply orchestrate.
Concerto Concentrations 6.
Tharaud brings luminosity to three concertos.