To what extent a composer utilizes artistic freedom decides upon his originality, Androsch is an original, says Dietmar Polaczek in the “Frankfurter Allegemeine Zeitung” (2003), – Peter Androsch is active not only as a composer, but also as a musician, an artist with space and writing, a researcher, a writer, and as an international lecturer. His extensive work is shown here within the four categories of composing, playing, phonography and the Hörstadt.
PERSONALE PETER ANDROSCH – Ausstellung Phonographien, Historisches Museum, Minoritenkirche, Regensburg bis 30.10./ 30.10., 14.00 FINISSAGE Historisches Museum, Regensburg / 9.11., 17.00 Hörstadt Gespräch mit Herbert Müllner (TGM Wien), dorftv.at / 16.11., 18.00 Hörstadt Gespräch mit Oliver Peter Graber (Komponist), dorftv.at / 28.1.2017 HMH Kunstnacht, Linz, Dr. Didi / 16.3.2017, Abend, HIMMEL Dr. Didi, Österreichisches Kulturforum Bratislava, Slowakei / 22.3.2017, 19.30 PASSION, UA Brucknerhaus, Linz, weitere Aufführungen in Passau und Salzburg
Androsch is a philosopher and a jack of all trades at the same time, a conceptual carnival artist. He knows his way around silence.
Eleonore Büning in the “Frankfurter Allgemeinen Zeitung” 2013
Ever since the 1980s composing has played a central part in the creative work of Peter Androsch. Particularly in the area of musical theatre his particular fortitude in artistic creation can be seen, a strength that combines theatre, sound, and space: “Peter Androsch composes in the same way that Man Ray created his first Dada piece”, says Wolfgang Schlag in the Pasticcio in the cultural program of OE1 in 2007.
After extensive touring in his younger days (tours through Austria, East- and West Germany, Switzerland, Spain, Yugoslavia, Hungary, Belgium, Italy, Portugal, USA, and Africa) actively playing has become an integral part in Peter Androsch’s work once again. Together with his colleagues Didi Bruckmayr and Bernd Preinfalk he regularly plays contemporary chamber music as “Dr. Didi”.
Peter Androsch has dubbed his sound-writings Phonographies. What originally began as the creation of more or less dense landscapes of writing by layering his own musical manuscripts, has developed into creating sound-paintings based on the musical scores, manuscripts, sketches, and typescripts of other artists.
The concept for the Hörstadt was developed in 2006 as a central piece in the musical department of the cultural capital of Europe of 2009 in Linz, of which Peter Androsch was the head. It was conceived as a laboratory for acoustics, space, and society, and so the Hörstadt was able to develop new methods such as anthropological acoustics and inclusive acoustics. Its central concern is designing the acoustic surroundings as humanely as possible.