music austria – music information centre austria

2005

These creative qualities were especially effective in Ludwig Nussbichler's "Traumbildfragmente III": prominent, fervid chords, which at once retreat into themselves and become soft sound impulses from far away, opened the piece which was composed in 2003. In the second part the violin starts with a resilient theme and listening was a suspenseful pleasure.

DrehPunktKultur (http://www.drehpunktkultur.at/)

2006

A highlight during the first part was surely "Endymion - Traumbildfragmente I" of the composer from Salzburg Ludwig Nussbichler under the musical direction of Peter Hirsch, who precipitously brought Nußbichler's inner worldly apotheoses to life, threatening string sound patterns, helpless winds rebellion, up to a hermetic melody line; the beautiful jail of the enacted dream of death.

Österreichische Musikzeitschrift 5/2005

26. January 2007

Nussbichler skilfully created, through instrumentation and timbre, a lively development from calm awakening to mourning and from charged turbulence to the freezing of movement in a gently fading end.

drehpunktkultur.at (Heidemarie Klabacher)

26. January 1977

Ludwig Nussbichler has created exceptional small pieces with his music for the musical comedy "Der Zauberspiegel", in which quotes from Mozart and from contemporary composers are zestfully combined, remaining tonal throughout. [...] An exciting, precious end to the educational project of the music academy on the occasion of the Mozart Year 2006. Surely one of the most unpretentious and most durable contributions to the Mozart Year.

Salzburger Volkszeitung (Florian Oberhummer)

Der Zauberspiegel: the music academy crowned the Mozart Year with a musical comedy Academy director Ludwig Nussbichler composed an ingenious one-hour piece for a libretto by Fritz Glasl, which had ear-catching phrases as well as complex sounds. This fits well to Mozart's affinity to folkloric sound and it was wonderful to see how some abrupt caesura on the other side of the tonal borders appeared in the dramaturgy, in order to effectively underline the mean deeds of the sorcerer Malefax. No grumbling could be heard by the spectators of all ages; also because of the enchanting marionettes and the string ensemble presenting a united front with Stephan Höllwerth, on stage and in the orchestra pit. [...] A triumph for the music academy!