(Wiener Concert-Verein / Alexei Kornienko, Elena Denisova, Wörthersee Classics, 20.5.2011):

A composer that impudently uses all available means just to write electrifying music.
(Die Presse, 23.5.2011)

(pr. Vienna, Musikverein, Brahms-Saal, Wiener Concert-Verein / Andreas Pixner, Robert and Agnes Wolf):

A piece that puts intimate, impressionisticly striking flute-passages beside rhythmical fortissimo-clusters and combines trivial Jazz-scenes with lyric string-melodics.
(ÖMZ, 02 2011)

(USA-Tour Vienna Boys' Choir spring 2011, Kerem Sezen, Db.: Dominik Wagner):

A clever romp that required a virtuosocontrabass solo, deftly executed by one of the choristers.
(San Diego Arts, 7.2.2011)

(Vienna, Musikverein, Brahms-Saal, Erwin Klambauer, Ensemble Kontrapunkte / Peter Keuschnig):

Wolfram Wagners Concerto for Flute and Chamber Orchestra had its enthusiastically acclaimed premiere. A compact and accomplishedly composed piece for a vituoso flute.
(Die Presse, 10.1.2007)

A Concerto that should become a standartpiece for each flute player. This music must enjoy also those who play it. The fast movements sound splendid, the slow ones touchingly beautiful.
(Kronenzeitung, 10.1.2007)

Tyrol (May-October 2008):

Moving music, more than only wonderful tone-painting. Gorgeous choirs und fine orchestrated stage music.
(Tiroler Tageszeitung, 26.5.2008)

Wagner's music generates a second level, a level of emotion, a level unreachable by words.
(Kronen Zeitung, 26.5.2008)

(pr. Washington D.C., 23.6.2008, Randall Scarlata, Thomas Bagwell):

Wagner's subtly crafted 3 Songs filtered the romantic art-song tradition through a more angular, modernist stile. His unfussy treatment of the texts and more oblique scoring for the piano honored both the plain-spoken surfaces and emotionally ambiguous undercurrents in Kees's wriring.
(The Washington Post, 25.6.2008)

(pr. Washington 20.2.2008, Verdehr Trio):

Wagner forged his trio with an assortment of four distinctly characterized textures and styles, all clearly tonal. The prelude's closely entwined instrumental dialogue gave way to a spirited scherzo, an impassiones contrapuntal intermezzo and a finale in jaunty jazz style.
(The Washington Post, 22.2.2008)

(Vienna, Odeon, Junges Orchester Wien,
Kammerchor der Wiener Musikhochschule / Herwig Reiter):

Insistently formed melodies, subtle lyricism and thrilling dramatic intersections.
(Die Presse, 4.3.1991)

A strong, moving work.
(Kurier, 5.3.1991)

An oldtestamentary outcry, an authentic tone-speach, formed with exact sensibility and clear artistic sense.
(Der Standard, 4.3.1991)

(Vienna, St.Augustin, orchestra and choir of St. Augustin / Alois Glaßner):

Augustinus, more than a confession by Wolfram Wagner (Österreichische Musikzeitschrift, 11-12/2000)

(Berlin, Konzerthaus; Hannover, World Exhibition; Amsterdam, Concertgebow, Vienna Jeunesse Orchester / Herbert Böck):

A conclusive work.
(Berliner Zeitung, 8.8.2000)

Banging percussion-objections, plain orchestra sounds and much vividness.
(Frankfurter Allgemeine Zeitung, 9.8.2000)

Polished composition-technique.
(Der Tagesspiegel, Berlin, 8.8.2000)

Mathematically constructed heaven-music, in contrast to impulsiv and rhythmically gripping earth-sounds.
(Hannoversche Allgemeine Zeitung, 10.8.2000)

(Donaufestival 1999, St. Pölten):

Wagner's piece is situated in the tention between reality and phantasy. Out of a cntemplative beginning it culminates in two climaxes of powerful motoricity.
(Die Presse, 14.6.1999)

Subtle balanced atmospheres, hammering power and racing energy-flow.
(Kronenzeitung, 13.6.1999)

(London, Queen Elizabeth Hall, Academy of St. Martin in the Fields / Wolfram Wagner):

Euphorically dancing rhythms and resourceful deployment of the basic texture.
(The Times, London, 4.10.1993)

(Vienna, Schloß Schönbrunn, Eduard and Johannes Kutrowatz, Wiener Jeunesse Orchester / Herbert Böck):

Strict, full of tranquility and balance, with subtle sound agglomerations and strong rhythmics.
(Kronenzeitung, 5.7.1996)

A bright apotheosis of rhythm, melody and sonority.
(Wiener Zeitung, 5.7.1996)

(Vienna, Musikverein, Brahms-Saal, Christine Whittlesey, Ensemble Kontrapunkte / Peter Keuschnig):

The composition goes the way from the single line to sirenlike polyphony and devotes itself to the art of enhancement and salvation through singing.
(Der Standard, 19.3.1997)

A very impressive work.
(Wiener Zeitung, 19.3.1997)

(Carinthischer Sommer 1997, Villach, Kongresshaus, Orchestre de Cannes / Philippe Bender):

A ramified, dynamicly accentuated, in itself resting atmospheric music.
(Die Presse, 6.8.1997)

A most sensitive instrumented musical snapshot, a melodic soundcircle, a little orchestral jewel.
(Wiener Zeitung, 6.8.1997)

(Vienna, Musikverein, Brahms-Saal, Vienna Saxophone Quartet, Ensemble Kontrapunkte / Peter Keuschnig):

The work appears like an etude in unpredictability and shows, that Wagner is an experienced dramaturge of tones, who finds individuality also in the animating power of the point and in the change of static and ecstatic parts.
(Der Standard, 19.3.1997)

A virtuoso piece full of contrast, the last page of which only can be discribed as an "installed applause-generator".
(Piano News, 2/2008)

(Vienna, Musikverein, Brahms-Saal, Ensemble Kontrapunkte/Peter Keuschnig):

Wagner enchants the audience with a sparkling and effective music. A great success with the audience as you don't find it often with premieres.
(Wiener Zeitung, 22.4.1995)

(Vienna, Musikverein, Großer Saal, Wiener Singverein / Johannes Prinz):

The work makes a deep and lasting impression.
(Wiener Zeitung, 21.6.1999)

(Washington, Austrian Cultural Forum, Rupert Bergmann, Thomas Bagwell):

Wolfram Wagner's songs cast two-word lines in music slightly tuneful and racing at Indy speed.
(Washington Post, 5.12.2004)