The result is a magic of sound with many meanings that is effective and suited to the subject of Trakl.
Ludwigsburger Kreiszeitung
(…) the use of electronics in this piece can be praised unreservedly—so delicately (and sometimes even ironically) playing along and so intelligently continuing and questioning that which the five musicians of the ensemble ascolta under the direction of Alexander G. Adiarte perform from the edges of the sound space they have marked out for themselves. The strength of the music lies in its clear structure, on the recognizability of its patterns, and on its logically constructed, circular form. At the same time it sounds, in the gradual coming together of notes into intervals and intervals to chords, uncommonly beautiful, deep, poetic, and never dull for a moment. (…)
In the interplay between the real and the reproduced, which is virtuosically supported by the electronics, among many others things one discovers again and again the sounds of “harmony and gentle madness” of which Trakl once wrote. As if he, who also liked to play with times, had long since encountered Hans Tutschku’s sounds. Who knows?
Stuttgarter Nachrichten
For a composer who had felt close to Trakl’s emotional and visual world since his youth, and who has referred repeatedly to his texts in his chamber music works, it must have been an attrtactive but also difficult prospect to experiment with such poetic visions in a work of musical theater. The performance currently being presented in the Blackbox of the FNM is a successful attempt at rapprochement.
Cannstatter Zeitung
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