Mark Andre



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„rwh 1“

Among the ensemble pieces of this year's festival, the clear standout was Mark Andre’s string piece "rwh1" as interpreted by Ensemble Resonanz: masterfully structured, rich in overtones and sounds emerging from the depths of the organ, it unfolded and reared up to a brilliant culminating forte.
Neue Zürcher Zeitung, 24/10/2019, Eleonore Büning

„rwh 1“

In looking to the past, Andre manages to accomplish something that few can: in a masterly collaboration with the SWR Experimental Studio, he constructs his own personal sound space. Very delicate indeed.
Stuttgarter Zeitung, 21/10/2019, Mirko Weber

Wittener Tage für Neue Kammermusik

Andre lets fragile sound particles grow into intense sonic drama, often refracted through noise and microtonality. Andre's premieres counted as some of the persisting highlights [of the festival].
Neue Züricher Zeitung, 4/5/18, Marco Frei

"iv 13 - Miniature for String Quartet"

The 12 miniatures [...] are audibly influenced by Sciarrino’s evanescence, on to which they graft microtonal tunings and some of Helmut Lachenmann’s extended instrumental techniques; the effect is mysterious and [...] touching.
The Guardian, 14/3/18, Andrew Clements

"woher...wohin" for orchestra

Hope in the midst of this absence of creativity is provided once again by Mark Andre, who proves that music is stronger when a composer creates something with it rather than taking it to pieces.
FAZ, 24/1/18, Jan Brachmann

Mark Andre reaches with such intensity for a stillness that almost bursts your eardrums.
Berliner Zeitung, 23/1/2018, Jonas Reichert

"über" for clarinet and orchestra

Andre, for whom „disappearance is the central category“, wrote for Jörg Widmann so that the sound of his clarinet is always disappearing, supplemented by tape recordings of the desert wind in Jerusalem. Widmann handles his instrument phenomenally, especially on the limits of the audible between pp and pppp, creating a spellbound silence in the Philharmonie for the complete 43 minutes of this meditative exercise.
NMZ, 10/2017, Albrecht Dümling

"woher...wohin" for orchestra

… cryptic, like much of his music, but highly original and distinct.
NZZ, 10/7/2017, Marco Frei

His orchestral work woher…wohin has already become without question one of Musica Viva’s greatest commissions.
Süddeutsche Zeitung, 9/7/2017, Michael Stallknecht

"3" for the Neue Vocalsolisten Stuttgart

The premiere of Andre’s work “3” for six voices – the title refers to the numerical value of pi and the Trinity – was in ideal hands with the Neue Vocalsolisten. The singers evoked a world of slowness and contemplation, which is typical of Andre’s work. A standing ovation.
Stuttgarter Zeitung, 8/12/2015

"über" for clarinet and orchestra

It [the SWR Symphony Orchestra’s prize] has been awarded to Mark Andre’s composition “über” for solo clarinet (Jörg Widmann), orchestra and live electronics. The jury was touched and deeply moved by the “delicacy of the sound” in this work.
Focus online, 18/10/2015

Is it still earthly music? Or is it the silence turned into sound that is simply too heavy to be born in its relentlessness? Given Widmann’s unique way of playing the piano and his mastery of avant-garde techniques, everything is possible. And above all, given Mark Andre’s music for the end of time, “über”, which traces the sounds so subtly and unsettlingly.
Badische Zeitung, 20/10/2015, Alexander Dick

"an" for violin and orchestra

In the world premiere of Mark Andre's "an", the violinst Carolin Widmann and the WDR Symphony Orchestra, which played sensitively under Tito Ceccherini, conjured a work of fragile softness.
Kölner Stadt-Anzeiger, 11/5/2015, Rainer Nonnenmann

"E2" for cello and double bass

Mark Andre created a delicate sound network for violoncello and double bass. Andre’s score is captivating, the reduced sounds, which often only seem like dabs of sound, generate an immense tension.
Die Welt, 27/8/2013

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