Given birth to in Austria in 1963, Thomas Larcher continues to be, for a big a part of his profession, as much popular like a pianist for his compositions. He offers written, “My origins lie in overall performance, and in years of imprinting through the music and formal suggestions from the classics. My music is usually communicative: it difficulties the attentive listener but is intended to be easily intelligible in concert.” His function does indeed appear to be it’s informed from the broadest knowledge of European musical customs. Larcher developed a method that unselfconsciously acknowledges and includes the most demanding areas of Darmstadt-style modernism with components of the new simpleness and holy minimalism, as exemplified by composers such as for example Silvestrov and Pärt. His harmonic and gestural vocabulary could be modernist, but his parts are constructed of more than enough repetition and transparency that it’s feasible to understand them on initial hearing. Important functions are the concertos Still, for viola and chamber orchestra, and Hier, Heute for cello and orchestra; three string quartets; as well as the vocal piece My Disease is the Medication I WANT, with texts extracted from a Benetton “Shades” magazine.