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Cover:
Music of Belinda Reynolds Featuring performances by: American Baroque, Citywinds, Claricello, New Millennium Ensemble, Peggy Benkeser, Sergio Puccini, Teresa McCollough, Tom Burritt |
COVER
When Edward Munch painted "The Scream" he wasn't listening to Belinda Reynolds's music. On the contrary. If he had been, he might have come up with "The Sigh" or perhaps "The Swoon."
This music is suspiciously easy on the ears -- almost painfully enjoyable -- with about as much Angst as you'd get on an average day in San Francisco, her adoptive hometown (she grew up in a Texas Air Force family).
Her music appeals directly to the heart without beating around any emotional bushes. No frills. No long titles. It is by turns dreamy, propulsive, and buoyant; Post-Minimal and Pre-something else.
As composer and critic Kyle Gann wrote in Chamber Music Magazine, "[Reynolds's music] stands out for its elegant polish, the persuasive pacing of its metamorphosis, the complete absence of false steps or miscalculations."
COVER features unfaltering, even elegiac, performances by some of today?s top players, including American Baroque, Citywinds, and New Millennium Ensemble. There are also intimate works for woodwind trio, for piano and percussion, for guitar, and for clarinet and cello.
Long known for her involvement with the Common Sense Composers' Collective, Reynolds teaches and writes in San Francisco. COVER is the first recording devoted exclusively to her music.
Track Order
| Num. | Title | Performers |
| 1. | Cover | New Millennium Ensemble |
| 2. | Solace | American Baroque |
| 3. | Yawp | Sergio Puccini |
| 4. | Play | Teresa McCollough Peggy Benkeser Tom Burritt |
| 5. | Turns | Citywinds |
| 6. | Dust | Claricello |
| 7. | Circa | American Baroque |