The three pieces by New York-based composer Byron that are collected here (two for strings and keyboards and one for four pianos) are dramatic, lush,...

The three pieces by New York-based composer Byron that are collected here (two for strings and keyboards and one for four pianos) are dramatic, lush, insistent, and lovely and reveal their compositional processes as they unfold. Music of Nights . . . might be likened to the sound of rainfall on a roof—delicate, resonate, active, continuously changing while seeming to remain the same. Entrances starts with intermittent bursts of notes and builds to a dense barrage of sound. Kyle Gann writing in the Village Voice called the pieces collected here, “…lovely in their cloudy string textures and abrupt piano riffs… it all breathes the air of pre-Silicon Valley California.” Fanfare magazine wrote of this album: “Cascades of swirling music… sincere, technically challenging musical art with a distinct point of view.” International Record Review commented, “The deeply engaging pieces…are rigorously about process and implications…. Music of Nights Without Moon or Pearl is a piece to savor…. David Rosenboom’s realization of Entrances is a marvel of stamina and precision.” ClassicalNet noted, “Byron creates a maximalist effect out of minimalist means.” And the San Francisco Bay Guardian wrote, “One is reminded not only of the time-bound nature of sculpture (one must move around a piece to fully experience it), but the mobiles of Alexander Calder, which are both fixed and moving. And like Calder's work, Byron's music is immediately comprehensible and beautiful, while it remains experimental.”