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
Piano Factory 3.
Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.
Piano Factory 3.
Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.
Armchair Operas 3.
With a knowing nod towards Pasolini’s Salò, McVicar and Devlin have set Strauss’ luscious single act (and last avant-garde salvo) in a high-ceilinged, multi-purpose cellar whose dingy tiles and fittings suggest a kitchen, showers, or more appropriately, an abattoir.
Armchair Operas 3.
With a knowing nod towards Pasolini’s Salò, McVicar and Devlin have set Strauss’ luscious single act (and last avant-garde salvo) in a high-ceilinged, multi-purpose cellar whose dingy tiles and fittings suggest a kitchen, showers, or more appropriately, an abattoir.
Mostly Symphonies 8. (Austro-Germanic)
History has not treated Wolfgang’s father well. Adulation for the son comes at the expense of the elder teacher, composer, violinist and impresario.
Mostly Symphonies 8. (Austro-Germanic)
History has not treated Wolfgang’s father well. Adulation for the son comes at the expense of the elder teacher, composer, violinist and impresario.
Armchair Operas 2.
With broad, sweeping strokes, Alessandrini brushes away years of dust and speculation.
Armchair Operas 2.
With broad, sweeping strokes, Alessandrini brushes away years of dust and speculation.
Piano Factory 2.
Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions.
Piano Factory 2.
Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions.
Piano Factory 1.
Having negotiated the 20th century’s main styles, Silvestrov abandons them for an introspective Romantic cloud.
Piano Factory 1.
Having negotiated the 20th century’s main styles, Silvestrov abandons them for an introspective Romantic cloud.
Mostly Symphonies 7.
Weiner completed his arrangement in 1955, and this is apparently the first recording. The challenges and decisions are huge.
Mostly Symphonies 7.
Weiner completed his arrangement in 1955, and this is apparently the first recording. The challenges and decisions are huge.
Pièces de Clavecin 3: Le Grand, Marpourg, Les Forquerays, etc.
We are reminded that Couperin said: “I have called my works Orders, although I could have called them Disorders just as accurately.”
Pièces de Clavecin 3: Le Grand, Marpourg, Les Forquerays, etc.
We are reminded that Couperin said: “I have called my works Orders, although I could have called them Disorders just as accurately.”
Artur Schnabel’s “Love Affair”
We learn, perhaps to our surprise, that Artur Schnabel, the venerated Beethoven, Mozart and Schubert specialist, preferred composing to performing.
Artur Schnabel’s “Love Affair”
We learn, perhaps to our surprise, that Artur Schnabel, the venerated Beethoven, Mozart and Schubert specialist, preferred composing to performing.
Naxos Bowl 3: Some American Classics
Easily matching the Arditti’s premiere recording (Montaigne MO 782091), the Pacificas seem to delight in the Fifth’s halting momentum and casual recollection of the previous four.
Naxos Bowl 3: Some American Classics
Easily matching the Arditti’s premiere recording (Montaigne MO 782091), the Pacificas seem to delight in the Fifth’s halting momentum and casual recollection of the previous four.
Italian Vacation 6.
Sani’s elemental dreamscapes — one each for water, wind, earth and fire — blanket their soloists with live electronics and tape.
Italian Vacation 6.
Sani’s elemental dreamscapes — one each for water, wind, earth and fire — blanket their soloists with live electronics and tape.
Mostly Symphonies 6. / Naxos Bowl 2.
Melding hymn tunes, microtones, complex canons and continuous glissandos, Coates’ riveting symphonies take the Ives highway but go off-road after Ligeti’s exit…
Mostly Symphonies 6. / Naxos Bowl 2.
Melding hymn tunes, microtones, complex canons and continuous glissandos, Coates’ riveting symphonies take the Ives highway but go off-road after Ligeti’s exit…