Press kit

“[...] a composer with something urgent to say.” –Philadelphia Inquirer

“Ludwig orchestrates with the skill and sophistication of a Ravel, and generates the power and thrills of a John Williams adventure film score. At times the barbaric splendor of Bloch’s Schelomo or Walton’s Belshazzar’s Fest comes to mind.” –Fanfare

“Ludwig has no shortage of interesting ideas – and a fine talent for evoking a sense of memory and mystery – and ‘Seasons’ provided a worthwhile listen.” –Washington Post

“[...] Mr. Ludwig’s writing was resourceful and emotionally charged.” –New York Times

“Ludwig [...] deserves his growing reputation as one of the up-and-comers of his generation.” –Chicago Tribune

“The lineup included David Ludwig’s arresting, dramatically hued ‘Ewigkeit’ (‘Eternity’), a setting of a text from the ‘Knaben Wunderhorn’ poems that blended Mahlerian vocal lines and Schoenberg-like instrumental colors.” –The New York Times

“[A] new piece destined for a secure place in the chamber-music world [...] shows every sign of being artistically important[...].The second movement, in particular, of Ludwig’s The Catherine Wheel promises to speak for the sorrows of this generation much the way Barber’s Adagio for Strings did for another era.” –Philadelphia Inquirer

“A Musical Up-and-Comer” –The New Yorker

“Not so with David Ludwig’s 12-movement Dante Microludes score, influenced by the explosive miniatures of Gyorgy Kurtag but less dense and unafraid of prettiness. The seemingly unending scale ascent in the 10th movement, for one, was thoroughly entrancing.” –Philadelphia Inquirer

And before “Les Adieux,” he provided just the right mix of polish, brittleness and macabre humor in David Ludwig’s “Lunaire Variations”: true to its title, a charming and imaginative set of seven variations on the last book of Schoenberg’s “Pierrot Lunaire.” –The New York Times

“The Bartók part was preceded by David Ludwig’s ‘Fanfare for Sam’ and Leonard Bernstein’s Symphonic Dances from ‘West Side Story.’ The sensitive, precise orchestral tone that could be heard in this thematically coherent program was simply phenomenal.” –Sächsische Zeitung

“[Ludwig's] cycle ['From the Rubaiyat of Omar Khayyam'] for mezzo-soprano and small wind ensemble manages to be poignant and lyrical, with minimalist ideas scattered here and there. It suggests a world beyond the West without dwelling on it.” –Seattle Post-Intelligencer

“Ludwig’s composition is a winner.” –Baltimore Sun

“A powerful eight-minute song by David Ludwig premiered at the Lake Champlain Chamber Music Festival on Sunday at the Elley-Long Music Center, raising the 3-year old festival from another good chamber music festival to a truly important one.” –Vermont Today

“After hearing [Beethoven 9], conducted by Music Director Jaime Laredo on Saturday at the Flynn Center, it is all the more remarkable that the excitement of David Ludwig’s Cello Concerto remains…Ludwig’s musical language is modern and sophisticated but, judging by the audience’s enthusiasm, easily accessible. In fact, despite its complexity, Ludwig’s Cello Concerto is a major work that was a real pleasure to hear…” –Times Argus

“Cellist Soo Bae joined pianist Reiko Uchida in David Ludwig’s Scenes from Childhood. For this virtuosic compendium of angular melodies and effects that suggested sirens, march rhythms and a touch of Messiaen, Bae shrugged off the piece’s difficulties and emphasized its shapeliness and warmth.” –The Strad

Flowers’  feel and gently repeated note patterns reminded me of the understated beauty in Arvo Part’s Spiegel im Spiegel, though Flowers’ inspiration is rooted in much weightier source material…Whatever your opinion on the facts of the incident, the senselessness, sheer brutality and fundamental human failure evident in every aspect of the situation are inarguable, and provide the potent departure point of Flowers’ fragile emotional center.” –World of Music


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