"Just wanted to let you know that I've just seen your piece "Sing what you hear!" at the Korzo and absolutely loved it! Otto did a great job, and the audience really appreciated it. It's nice for me to know that whenever I see your name on a concert programme there's a guarantee that, even if I don't "get" the piece, it will make me smile and make me think! :-)"

Richard Fitzhugh, 21.4.06

 

"unaufdringlich magische Musik" (unobtrusively magical music)

Georg Kasch in Nachtkritik.de zu "Kleiner Mann, was nun?"

"Wellicht ten overvloede, maar ik wil het toch nog even benadrukken, dat heel het evenement doorspekt was van een dosis humor, die je niet van een Duitser zou verwachten!"
"Glanzlichter im Hülle und Fülle, doch will ich eben noch hinzufügen, daß die ganze Veranstaltung durchsetzt war von einer Prise Humor, die man nicht von einem Deutschen erwartet hätte!"

Hans Eeuwes in einer Internet-Rezension über mein Examenskonzert am 6. Juni 2005 in der Villa Ockenburgh Den Haag, lesen Sie den kompletten Artikel hier.

 

"... I just had the impression that you were focusing your attention on the larger concepts with that piece... but... I really enjoyed it...so what the hell!!!!!"

Richard Ayres on "Si j'avais envie", 17.12.2007

 

"... your video on porno is very intelligent - excellent juxtaposition of the images of the apples and the monologue.  The animation with the apple peeler is somewhat Quayesque.  The apple flies off at end - desire is transcendental, huh?  Also, that effect with the tiny pictures within the face - very striking. ..."

William Kersten über "All about me", 5.7.2005

 

"Your animations work."

The Brothers Quay on "All about me", June 2006

 

"It shows that talent will always create something interesting and worthwhile with whatever materials."

Dave Connor über "Symphonie Numérique", 7.2.2005

 

"I have to say your music is almost as good as Prokofiev."

Michel Houellebecq, July 2006, being a huge fan of the Eisenstein films

 

"Mathis Nitschke makes an impressive composing debut with this French post-apocalyptic cloning fable. If Jerry Goldsmith went for primal sounds in PLANET OF THE APES as characters wandered across a desert Forbidden Zone, then Nitschke goes for stunning orchestrations, ranging from big symphonic reveals to a solo viola, piano or harp representing one clone’s existential sadness. It’s the kind of intriguingly unique music that Europeans seem to hear more than us - a scoring debut that opens the mouth with the wonder of who the heck this guy is. Hopefully we’ll be finding out a lot more in Nitschke's musical future, one that signifies anything but an end of days."

By DANIEL SCHWEIGER, Soundtrack Editor
Published 4/27/2009

"also der mbn-sound zieht rein. Dein Beruf muss ja richtig Spass machen!!!"

Ulrich Leucht, 28.2.2004