Reviews
Composer’s portrait by Corinna Thaon, in the scope of the radio programme »Debut« of Deutschlandradio Kultur, February 6th, 2009
“Apriva, in prima assoluta, la coniugazione contemporanea del concerto per pianoforte e orchestra secondo Martin Grütter. “Allheilmittel” (Rimedio universale), eseguito in prima assoluta, è un’autentica panacea per la noia composta di molte soirées contemporaines: dinamica travolgente, parossismo sonoro per una vera esplosione di energia musicale nel dialogo fra pianoforte classico, “hyperklavier” (invenzione dello stesso Grütter) e un’orchestra ipertrofica trattata con autentico virtuosismo compositivo.” – Il giornale della musica, November 27th, 2017, on Allheilmittel
“…grelle, ins Surreale und leicht Trashige driftende Welt, der der Komponist noch einen reizvollen Text mitgab…” – Frankfurter Rundschau, May 9, 2017, on Die Häutung des Himmels
“The world première of Martin Grütter‘s Die Häutung des Himmels (‘the moulting of heaven’), at the Blote-Vogel-Schule on Saturday evening, was phenomenal, a hyper-energetic, micro-choreographed work for seven instruments. Here was music with a sophisticated yet tongue-in-cheek sense of wit, alternating dense counterpoint with periods of quiet repose. Very weird and very wonderful.” – 5 against 4, May 15, 2017, on Die Häutung des Himmels
“It felt as if a new Alpine Symphony were less being presented then already reimagined, reinterpreted, redramatised.” – Seen and Heard International, January 21, 2019, on Die Häutung des Himmels
“With Martin Grütter, things get uncanny. He stages a game of deception, interleaves sounds, words and associations, and lets the phantoms of history, Siegfried and Marie, haunt his Veitstanz. The pieces by the other composers, rather concerned about intra-musical processes, appeared in contrast almost well-behaved.” – Kulturserver NRW, December 19th, 2013, on Veitstanz
“Veitstanz de Martin Grütter est donc une oeuvre tonitruante – elle se veut une illustration de la danse de Saint-Guy. (...) Une voix enregistrée déclame, crie, hurle (superbe synchronisation orchestre / bande), on entend encore des bribes de La valse de Ravel ! Très belle pièce également, humoristique, vivante, expressionniste.” – »Musique classique & Co«, blog de Thierry Vagne, April 30, 2016, on Veitstanz
“A piece of uncommon energy.” – ConcertoNet – The Classical Music Network, April 29, 2016, on Veitstanz
“Il faut l’énergie et l’extrême précision du geste de Roullier, galvanisant ses formidables instrumentistes, pour donner à la création française de cette pièce aussi courte qu’éruptive, fragmentaire et hérissée, une telle tension exacerbée jusqu’au cri.” – ANACLASE – la musique au jour le jour, 29. April 2016, on Veitstanz
“Martin Grütter leads the action from one climax to another. Rapid tempo and enormous volume drive the actors forward and leave the singers as well as the audience virtually breathless.” – dpa, June 16, 2013, on ORLANDO
“Fragments of lunacy, broken from a world which couldn't be crazier. Don't miss it!” – Neue Westfälische, June 17, 2013, on ORLANDO
“German composer Martin Grütter’s Messer Engel Atem Kling called for some squalling, bow-shredding extended technique. Part cello metal, part Zorn string piece, it was a clever study in contradictions.” – Lucid Culture, April 26th, 2017, on Messer Engel Atem Kling
“Quant à Siebenkreiswerk de l’Allemand Martin Grütter, la note de programme est un pur chef-d’œuvre en elle-même. Texte grandiloquent, symbolique ultra-mystique, «L’œuvre des sept cercles», pousse les limites du pompeux au sein d’une musique qui a tendance à se prendre un peu trop au sérieux. Certaines références tonales nous apparaîtraient presque superflues, si elles ne permettaient pas, notamment dans le climax de la pièce, aux zygomatiques de l’auditoire de s’exprimer naturellement.” – Le Journal du Conservatoire #78, on Siebenkreiswerk