A long shot: Because that is the easy thing, that is hard to accomplish. \u2192 to the works<\/a><\/p>\n\n\t<\/div> \n\n\t 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. \u2192 to the works<\/a><\/p>\n\n\t<\/div> \n\n\t 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 \u201creperta for three singers and orchestra\u201d. New acoustic \u201cfindings\u201d become surprising, and ironic sound experiments. \u2192 to the works<\/a><\/p>\n\n\t<\/div> \n<\/div> 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. \u2192 to the works<\/a><\/p>\n\n\t<\/div> \n\n\t 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.
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\n<\/em>Eleonore B\u00fcning in the Frankfurter Allgemeinen Zeitung on the world premier of the opera \u201cSpiegelgrund\u201d in the Austrian parliament in Vienna in 2013<\/p>\nChamber Music<\/h3><\/div>\n\t\t\t
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\n<\/em>Rigobert Dittmann in \u201cBad Alchemy\u201d on the CDs \u201cCollection 1 \u2013 Music for Voice\u201d and \u201cCollection 2 – Music for Percussion and Piano\u201d, 2004<\/p>\nOrchestra<\/h3><\/div>\n\t\t\t
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\n<\/em>Johannes Frankfurter for the \u201cFalter\u201d on the orchestra piece \u201cReperta\u201d at the musikprotokoll during the Steirischer Herbst, Graz 2005<\/p>\nChoir<\/h3><\/div>\n\t\t\t
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\n<\/em>CB for the \u201c\u00d6sterreichische Musikzeitschrift\u201d on the CD \u201cCollection 1 \u2013 Music for Voice\u201d, 2004<\/p>\nElectro Acoustic<\/h3><\/div>\n\t\t\t
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\n<\/em>Irene Bazinger for \u201cCicero\u201d, 2013<\/p>\n