“Why record intermissions? One duty of the composer is to expose the unexpected, overlooked, and hidden skeins of music woven in the world around us. Culling sounds from the world as a composition subverts long-standing, essentialist notions of music as comprised of notes, melody, traditional instruments (violin, guitar, drums, piano, etc.) and so forth as well as flouts contemporary expectations of abstractly agglomerated, musique concrète-ized sound.” An excerpt from the liner notes by DeLaurenti.

A compact disc in a smart but classic jewel case package.

Tracks
Holst, Hitherto
Before Petrushka
SF Variations
Holding Out for Ein Helden
Awaiting AGON
After Beethoven

Review: The New York Times, Arts Section May 30, 2007
The Concerts Found On Stage While Everyone Else Takes a Break “The recordings at first may have all the allure of watching moss grow. But when the tracks on Mr. DeLaurenti’s CD are heard together, with his theories and the history of the musical avant-garde in the background, they make a crazy kind of sense as performances.” —Daniel J. Wakin

Music: Best of 2007, Top 10: Art Forum, December issue
“An album that creates the unmistakable sensation that something special is about to happen.” —Damon Krukowski

Review: The Wire, May 2007
“Favorite Intermissions could prove to be a cult hit among the classical crowd. Seattle based Christopher DeLaurenti’s album is a high-concept masterstroke by a guerrilla phonographer…” —Clive Bell