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In the opening section, beautifully rendered by Mr. van Zweden and the orchestra, Mr. Goerne's singing of Whitman's spare-no-details descriptions of bloody soldiers soared over a backdrop of strings playing steady, swaying chords, music at once numbing and celestial.
Within a limited frame, he has made big decisions, choosing the chords ("Music for 18 is where I publicly discovered harmony," Reich says), dancing melodic patterns and a luxuriant, upholstered sound of throbbing bass clarinets, tuned percussion, pianos, female voices and strings.
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Over pensive, minor-chord music, a female voice says, her voice rising in incredulity: "She won millions of votes … but isn't on his ticket!
They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate).
"These works will always remain enigmatic and unreachable," he said, "but it's been a wonderful experience to live bar by bar, chord by chord, with music that does not have empty spaces, empty gaps.
In one number his shoulders kept chiming in like chords in music.
EVER mind that Mozart's concertos strike peaceful chords in music lovers.
After more stuttering chords, the music breaks into a headlong rush of twisting 16th notes and nonsensical arpeggios.
Built on tolling chords, the music transforms into a slow minor ballad, Mr. Sheppard gracefully picking around the chords and abstracting his lines into soft, wailing long tones.
Whether they were letting early synthesizers blip off-key or gnashing out guitar chords, the music was angular and unsweetened, with nothing to cushion its funk or noise.
With Mr. Faraco's voice skipping through pinpoint guitar chords, the music was sunny and alluring even when it held unhappy reflections.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com