The most luxuriant applause received Hochrot (2002) by Alois Bröder, on a poem by Karoline von Günderrode which at first sight sounded like a nursery rhyme on love, death and red. The performance owed its effect to primarily very simple means, as for instance a heartbeat imitation in the percussion (Bernd Mallasch), the noise sounds, which the two windplayers Angelika Bender and Thomas Löffler exchanged with one another, or the arrangement of the vowel "o" by the phaenomenale soprano Carola Schlüter. More than every other work of the evening Bröders composition seemed to make sensual the connection to the topic of the current exhibition "Feuergeburten" in the "Museum für Angewandte Kunst" with early Chinese ceramic: with clear, appropriate and very appealing forms.

Elisabeth Risch
(in: Frankfurter Allgemeine Zeitung, 29.6.2002)

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