music austria – music information centre austria

2003

The "Unsichtbare Theater" written by Christian Utz for a maximum line-up is another fine example for how the live-electronic functions are just as a speeding up and transforming the sound. [...] The electronic elements produce a more superficial effect, as Utz teems with expressive energy and fantasy.

Aargauer Zeitung

20. November 2001

The impression given by the world premiere of 'Kreise-Yuan' for soprano (highly virtuoso: Angelika Luz), instruments and recording, a composition written in 1999 by Christian Utz, was even more expressive. Thereby he wanted to create a kind of 'music language constellation', in which poems by Yang Lian, Bo Juyi and Christine Huber are assigned clear musical parts and a process of renewal and revival is set in motion. Precisely the polyphonic dialogue and sound combinations were fastidiously elaborated.

Badisches Tagblatt

16. February 2001

Utz evokes through the joining of exotic instruments such as the pipa and the shakuhachi, as well as through constant glissandi of strings and winds, a psychedelic sound atmosphere, like a trip into the deeper layers of consciousness; a true proof of talent.

Stuttgarter Zeitung

13. February 2001

Christian Utz was successful in combining Japanese and European art music in "Kreise - Yuan" for soprano, instruments and recording (1999). The hinges which join the East to the West are so finely built, so subtle in their harmonic ability to bind, that the captions "Polymorphie I-V" and "Insel 1, 2, 3" become self-explanatory. The piece is also a gentle liaison of eastern and western melodic structures, finely spun by Angelika Luz (soprano).

Stuttgarter Nachrichten

19. June 1999

The composer, who lives in both Vienna and Taiwan, explored the "field of tension between Western and Eastern cultures" in about 20 minutes. His trip with the four stages of darkness, wonder, days and path not only heeds wanderlust, but also homesickness, between West and East; a trip within. In three stations between scattered intersections, each of three quartet musicians becomes a speaker and drummer. They exchanged their classical instruments for such instruments as rain stick, lamellophone, Peking opera gong and cymbals.
The group wants to appear confusing at first, but in the end Christian Utz opts for a calm sound stratum. He follows the Taoist wisdom that great music has little sound. This aesthetic twist had a fascinating effect.

Hannoversche Allgemeine Zeitung

7. June 1999

The collection of live recordings of Christian Utz's works surprises through a clear, rhythmic tonal language with a profound impact without any misunderstandings - something highly uncommon in contemporary music. [...] The kaleidoscope of differing texts and sources [...] is proof of how Christian Utz confidently employs language. [...] He trusts the strength of the foreign material and the lack of all too Western opposing poles leaves the comparison of the very self-sufficient test and music levels much space and time.

Dissonanz/Dissonance 80 (Rico Gruber)

Éloignement was the title of this work, which exists in several versions. [...] a space sound action creating an amazing listening experience. The first part focused on pure music. Jan Czaijkowski played the 27 mostly minute particles of the concert version of "Éloignement", here termed "Quarks". These are tensely charged sediments, very expressive, seldom lyrical, often hot-tempered, and marked by clear themes or motifs, often doted with hammering rhythms. The 20-year-old composer [...] takes complete advantage of [...] the key spectrum of the piano. The presentation of the simultaneous performance of two arrangements for flute and piano was extensively complex, and each included electronic music. Utz set the timing, the order of the parts was decided by the performers. Camilla Hoitenga's and Jan Czajkowski's renditions were offset by sounds and projections of the instrumental sounds, to which gestures and poses (such as lying down or walking) were added, leading to an enormous density of material. [...] Hefty applause from the small audience signified a clearly positive reception.

Landeszeitung, Niedersächsisches Tageblatt fr die Lüneburger Heide