So Alois Bröders contributions were again and again welcome counterpoints. His affecting musical language (like in the composition …weist zarte Fäden from 1994) is harmoniously close and high-contrast (for instance in the delightful confrontation of strings and woodwinds), but everything else than aiming artificially on the audience. Alienating play techniques, the employment of the language remain comprehensible elements of his compositional outlines.

Michael Neuner
(in: Darmstädter Echo, 25.2.1997)