Danielle Vorburger on occasion of a report on Sat3 (February 2015):
online (in German) until 2/2016
(Interview in German ©Danielle Vorburger)
Radio DRS2 in the program CH-Musik
on “That gave birth to the sky”, 2012 (in German).
Thomas Meyer in the Tages Anzeiger newspaper on the piece titled “Play heaven-and-earth”:
“This is neither early music nor deliberately styled new music. It is rather a small mystery play with a non-intrusive, meditative touch, almost timeless, bright, unbelabored and agreeable.” ( TA 20 June 2003)
Stefi Spinas, after a concert at the Rigiblick (2013):
“Margrit Schenker and her accordion are completely ‘one.’ They breath together, and are probably fused together. It has to be like that. How else could it be that these archaic, melancholic or joyous sounds, harmonies and melodies can speak so directly and immediately to the public. Whether loud or extremely soft, they come to us like a mirror image of the soul, from the inside to the outside. To be sure, Margrit’s voice joins in—a further component of the whole—telling stories, sometimes in a fantasy language that only uses consonants, but which is readily understood; this language is situated on a different level from that of normal speech. A more intimate level?
Margrit also has a pronounced sense of humor and comedy, which finds its way into the music; sometimes the listener has to laugh out loud. Isn’t it great when music also has this element in it?”
Wieland Ulrichs in the February 2013 issue of “Akustik Gitarre” on “that gave birth to the sky” in the version for solo guitar:
“These nine, mostly short, pieces are made up of sounds and sound states with very little melody. Sometimes the effect is minimalistic, then a diminutive, abstract blues pops up, and some jazz. Or maybe not? A little harp. The closing six-minute elegy is a hit.” The entire review of “Tentativ” in PDF format
… in “The New Yorker”
“Surprise! Margrit Schenker and Pauline Oliveros – accordionists both – will be joined by performance artist Julie Lyon Balliett and percussionist Jason Finkelman in a series of pieces that re-create Ms. Oliveros’s teaching methods, which Ms. Schenker describes thus: ‘Oliveros sits in the center of the circle letting things happen around her.’ “ (May 16 1994)
Martina Freitag in «Rezensionen» 4 / 2001 on “Stories” for Choir:
“Whoever expects to find fully arranged choral pieces here will be quite surprised. In the whole score there is not a single note. Nevertheless, when the work is performed, a lot of spontaneous singing, speaking, sound-making is heard., all of which is based on what the performers have learned here. The work is annotated like a screen-play: its directions are ‘what to feel,’ ‘what to sing,’ and ‘what to do.’ The singers in the choir have to utilize all their senses to make the composition audible, visible, and palpable.”
The Macedonian journalist Zoran Andonov on the premiere of «Bazaar» in Ljubljana Ljubljana Newspaper article in Macedonian, in PDF format . Unlike Slovenian, Macedonian is written in the Cyrillic alphabet.
