Musical Theatre

A long shot: Because that is the easy thing, that is hard to accomplish.

Eleonore Büning in the Frankfurter Allgemeinen Zeitung on the world premier of the opera “Spiegelgrund” in the Austrian parliament in Vienna in 2013

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Chamber Music

The often provocative composer shows his skilful handling of tradition with his chamber music. He tends towards eclecticism, he is not driven towards it. The form is what matters.

Rigobert Dittmann in “Bad Alchemy” on the CDs “Collection 1 – Music for Voice” and “Collection 2 – Music for Percussion and Piano”, 2004

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Sound spaces to last: That is probably the most precise way to describe the effect that Peter Androsch achieved with a good sense of humour and loose instrumentation of the RSO-orchestra in his “reperta for three singers and orchestra”. New acoustic “findings” become surprising, and ironic sound experiments.

Johannes Frankfurter for the “Falter” on the orchestra piece “Reperta” at the musikprotokoll during the Steirischer Herbst, Graz 2005

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Cascades of curses, implosions, and the deepest darkest corners of the banalities of dialect: You have to listen with Androsch, listening to him is not enough.

CB for the “Österreichische Musikzeitschrift” on the CD “Collection 1 – Music for Voice”, 2004

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Electro Acoustic

It is moving the way Peter Androsch shows his vision of what art can be: To give those a voice who have been made silent, and to listen to that voice.

Irene Bazinger for “Cicero”, 2013

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Stage / Film / Video

Peter Androsch’s music is some of the best that was part of a film in the past few months.

Clause Philipp for “Der Standard” on the film-music for Andreas Gruber’s “Hasenjagd”, 1995

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