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23. November 2001

A grand work in the tradition of Austrian symphony music which, due also to the extremely precise and striking conducting by Dennis Russel Davies, not only communicated with the audience but, as confirmed by the applause, also elicited emotions.

Oberösterreichische Nachrichten (Michael Wruss)

28. November 1966

Dallinger has rediscovered tonality after exercising with twelve tone music.

Salzburger Nachrichten

1. April 1968

only Dallinger was really liked
Though he was the youngest, Fridolin Dallinger was the best of the Viennese invasion. His Sonate für Bratsche und Klavier is neatly worked out and seems like a call for striking up. The slow movement is again the most prominent, which seems to be one of Dallinger's special strengths.

Linzer Volksblatt (Alfred Peschek)

5. November 1970

Critique, grotesqueness, fairy tales
At the Landestheater Linz: Ballett evening with a world premiere and a first performance
The evening began with the ballet Gesellschaft für einen Abend (Die sieben Todsünden) by composer Fridolin Dallinger from Linz, a work criticising the cold-heartedness and ambition of society today. The music, which is based on the twelve-tone scale, is hard and tense, has a colourful instrumentation and through this convincingly portrays the characteristics of each of the sin stations.

Kurier (Rudolf Weishappel)

13. May 1976

20th century music: for whom?
Highlight and finale, world premiere and convincing power came together in the winds quintet by Fridolin Dallinger from Linz. This piece was composed last summer, and classical structures and delicate rhythms are so well balanced that the musicians visibly took to the score with joy and stayed true to it during their guest performance tour. This quintet brings together what counts in winds chamber music today.

Oberösterreichische Nachrichten (Franz Zamazal)

21. September 1984

Dallinger's "Erste"
Dallinger masters the idiosyncrasies of symphonic theme development, the need for these to be performed in large halls, what array of instruments is needed, and can keep listeners interested until the last note.

Neue Kronenzeitung (Balduin Sulzer)

21. June 1994

Much applause for Fridolin Dallinger's cantata at the Bruckner Festival
Bilder einer Einstellung
The composer moves in wide fields of free tonality, includes elements of jazz, of underground music, of light music, of twelve-tone music and even Gregorian, like, e.g. in case of the "Bild vom lieben Gott". Fridolin Dallinger approaches the listener directly and astonishes through his skilful, colourful and never crude interplay of sound combinations.

Neues Volksblatt (Christine Grubauer)

Powerful sound monument for the Danube
Stift Engelszell: world premiere of a "worldly oratorio" by Fussenegger and Dallinger
Fridolin Dallinger deftly dealt with an important question facing composers today: How can I compose demanding, impressive and accessible music which does not sound old? Eferdinger can walk the harmonic tightrope, is not an enemy of melody and produces contrasting variety while keeping carefully to the rhythm. An often bulky characteristic style and violent expressions of sound are perceived as topical and effective.

Salzburger Nachrichten (Hermann Schönegger)

Brucknerhaus: Successful Dallinger world premiere in the Grand Subscription
On how music tells stories
A great work in the tradition of Austrian symphonic music, which due also to the extremely precise and striking conducting by Dennis Russel Davies, not only communicated with the audience but, as confirmed by the applause, also elicited true emotions.
(refers to 3. Symphonie)