Alois Bröders 6 neue MÄRZ-Gedichte on poems by Heinar Kipphardt are fundamentally different vital character-miniatures, in which the Darmstadt composer does’nt demonstrate alone virtuoso stylistics. The musically subtly interpreted texts gain in the variety of this lighting dramatic style, which puts the relationship (artistic) individual and (emotionally ill) society ironically to disposition.

Michael Neuner
(in: Frankfurter Rundschau, 16.3.1999)

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Impressingly the 1961 born Alois Bröder set MÄRZ-poems by Heinar Kipphardt to music. And the Ensemble Phorminx, this time with the excellent soprano Carola Schlüter, obtained urgent-appropriate interpretations on Tuesday in the Sudhaus Tübingen. Bröder works for some years to add Kipphardts four versions of the life of the schizophrenic poet Alexander März a fifth, musical theatre. With the (involuntary) distance of the psychotic artist from the outside, apparently fixed reality the strength of perception can grow. Bröder succeeds in increasing the intensity of the lyric things compositorically once again. Nearly painfully Desert begins ("Ice-clap the mute was sandfar"); a deceitful-simple four-tone motif introduces the six-liner about the lunatic ayslum happenings (A 5, hall 6 ) and imaginatively Bröder carries on parodistic Schostakowitsch-procedures for Life.
A large percussion instrumentation inclusive the marimba (Bernd Mallasch), a violin (Peter Zelienka) and a cello (Wolfgang Lessing), flutes (Angelika Bender) and clarinets (Thomas Löffler) made Bröder possible orchestral color and sound effects. The singer Carola Schlüter musically vitalized the poor three-liner If we were water.

(Schwäbisches Tagblatt Tübingen, 18.3.1999)
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