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micamahler wrote:( the IRCAMians for example...)
... you made me think that there are people at IRCAM who write tonally using Open Music, just because they are used to (“must”) doing so.
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While I was writing, I was thinking of other composers, but I wanted to mention Sciarrino because that was the effect he had on me when listening to him for the first time; "Six Caprices for Solo Violin" was one of my first listens, but also the "Notturni" for piano.
I came from frequent listening to Chopin, and imagine the shock.
It is true that Sciarrino (from what I have been able to listen to so far) proposes particular atmospheres, and I like this, but I still wanted to give an example of this type because, upon a first approach, let's say, it isn't exactly "immediate" impact music; Xenakis is much more "wrapped up" [complex] and you can feel it, but he too arouses a certain interest in me regarding some fragments of compositions he has written.
While I was at Ricordi in Milan in 2000, I happened to speak with a gentleman who said he knew Sciarrino, and seeing that I was approaching the contemporary music department (I was almost afraid of it at the time), he advised me to listen (if I had bought a CD with that music, and he was referring specifically to Sciarrino) without expecting what one usually expects from tonal music and anyway from music that is more "understandable" upon a first listen; the result? I didn't buy anything that day, but for other reasons.
Years later I met one of his students, whose work I am posting here which I liked very much; it is a string quartet no. 2, and there are (at least in my opinion) clear Sciarrinian influences:
