It jogs my memory of the sort of music that Leif Segerstam was writing at about this identical time, but in a way I assume that Meyer’s early music was an affect on Segerstam rather than the opposite way round. Meyer does indeed consider his quartets as “little orchestras,” however since his orchestral works don’t always include an excellent many tuttis, the identical is true here. Although his private writing fashion is totally different, there is a surprising similarity in working strategies to other avant-garde composers like Harry Partch, although Partch was frequently more whimsical and even a bit extra outré in expression. The first string quartet also includes a surprisingly giant variety of moments by which the quartet plays microtonally (i.e., sliding in pitch up and down the strings), and this, too reminds certainly one of Partch in addition to of Carillo.
- The Bob Crewe Program in Art and