Press

  • Portrait Concert of Chamber Music, sponsored by GEDOK

    Mannheimer Morgen,  May 24, 1991 (Fischer) (translated) – Mannheim, Germany GEDOK: Organization for German/Austrian Women in The Arts “…The American composer, Elizabeth Austin, ….proved that contemporary music can not only be interesting and also aesthetically stimulating but also has the potential to fill concert halls…..One of the most prominent characteristics of her writing is the […]

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  • Premiere of An die Nachgeborenen (To Those Born Later) for SATB Chorus & piano

    Mannheimer Morgen, February 8, 1992 (translated) – Mannheim, Germany “…acknowledges with both fury and grief the fate of a deceived generation; it (the work) does not disguise the expression of pain and hurt.  This work by no means appears to be embarassed by an asethetic which does not necessarily reject the use of effective means….one heard […]

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  • Concert of Women Composers in Mannheim, sponsored by GEDOK

    Rheinpfalz Zeitung, May 28/29, 1994 (translated) GEDOK: Organization for German/Austrian Women in The Arts “…Elizabeth Austin’s Circling for cello and piano began the concert, whose title provided both form and motivic patterns…polystylistic work with exciting interpretations as they set modern fragmentation and neoromantic lyricism, inner strife and a cantabile line against one another….. Mannheimer Morgen, […]

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  • Excerpts from review of Austin CDs

    Excerpts from review of Austin CDs “Reflected Light” and “Sonata for Recorder” Sharon Mirchandani, International Alliance of Women in Music Journal, Winter, 1997 “…this collection will enchant the listener..solid craftsmanship combined with Austin’s impulses and intuition, successfully capturing her ideal of ‘the clarity and tenuousness of reflected light” “…Austin uses an expressive, eclectic language, mixing […]

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  • Excerpts from CD review of Wilderness Symphony No. 1

    E. Beck, International Alliance of Women in Music JournalWinter, 1998 “..stunning Wilderness Symphony translates Carl Sandburg’s poem…from words into the language of music as a brilliant sound tableau-deep, penetrating, haunting…Austin composes glorious music…a sonorous landscape of individualistic sounds that blend beautifully together…”

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  • Portrait Concert, sponsored by GEDOK / Mannheim’s Musikhochschule

    Mannheimer Morgen, June 18, 1998 – Schlage (translated) “…..with a unique sense of sound, Austin forms something of her own with the material at hand [musical quotes]…the colorful Hommage for Hildegard ….the premiere of the evening.., is quite imaginative and impressively orchestrated…”1

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  • Concert of Women’s Music: Lighthouse I for harpsichord

    Kölner Stadt-Anzeiger, January 26, 2000 (translated by Dietrich Möller-Weiser) “…the harpsichordist Fine Zimmermann, in conjunction with the literary scholar, Ingrid Helmke, ..were heard in a gallery concert in Villa Zanders, Bergisch Gladbach. In this concert, literary texts and music complemented one another, as in…the piece for harpsichord, Lighthouse I, by the American composer, Elizabeth Austin. […]

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  • Portrait Concert of Chamber Works – Mannheim, Germany

    Mannheimer Morgen, November 20, 2003  Brigitte Höft  (translated) “….the premiere of ‘Wie eine Blume’ uses fragments from Schumann..the quotation is ultimately sounded in the innermost part of the rose, on tuned glasses: a magical moment….”

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