Gramophone contributor Laurence Vittes spotlights Prof. Tod Machover’s “Death and the Powers,” an opera about robots and humans that has recently been released as an “electrifying surround-sound thriller.” Vittes writes that “Machover’s arsenal of music stands triumphantly on its own, fusing and defusing technoflash from the composer’s MIT Media Lab with rich writing for Gil Rose’s Boston Modern Orchestra ensemble.”
David Weininger of The Boston Globe writes about the longest instrumental work composed by Prof. Keeril Makan, a 47-minute movement performed by the New York-based chamber ensemble Either/Or. “Makan creates a succession of fresh and inventive colors, especially when he places two unusual instruments — glockenspiel and cimbalom — in dialogue,” writes Weininger.
Russell Platt writes for The New Yorker about Professor Keeril Makan’s music. “The work’s brave exploration of expressive territory makes it memorable. It’s lulling, thrilling, and, at times, downright eerie,” writes Platt of Makan’s piece “Resonance Alloy.”
David Weininger reports for The Boston Globe on the Radius Ensemble’s performance of “Nothing is More Important,” a piece composed by MIT Professor Keeril Makan. “Makan's piece begins with an obsessive focus on a single note, from which it never completely escapes,” writes Weininger.