Audio Video Club of Atlanta

“Augustyn meets the technical demands in the Mendelssohn Violin Concerto with an impressive degree of poise, encompassing the rapidly descending opening passage and the arpeggiated chords in the middle of the Allegro molto appassionato with unflappable smoothness. She also shines in the Andante, where the soloist is obliged to play both melody and accompaniment with the greatest expressive beauty. And she manages the rapidly ascending and descending arpeggios in the white-hot finale with the same assurance. The solo playing becomes ever more flowing, rich, and expansive in the Adagio {of the Bruch Violin Concerto No. 1} in which Augustyn does some of her best work. In the exuberant finale, she is called upon to execute sensational double stops and high-energy rhythms with the same high degree of competence. Jules Massenets Meditation from Thaïs serene, timeless beauty makes for a satisfying end to a program in which soloist and conductor allow the lyricism of three famous romantic works to unfold easily and naturally.”

– Violin Concertos, with the Janacek Philharmonic. Phil Muse, Audio-Video Club of Atlanta, 2017


"…Those acquiring this disc of the challenging 24 Paganini Caprices can be fully satisfied both in matters of technique and interpretation… Augustyn plays the set with finesse and confidence, conveying a sense these pieces are actually not a great challenge to her formidable technical skills. Polish-born, New York City-based Kinga Augustyn plays with seemingly perfect intonation and otherwise impressive technique, while convincingly capturing the musical essence of each piece. Perlman and Midori have offered very persuasive accounts of these twenty-four pieces, but I'm not sure I'd rank them over this new performance by Kinga Augustyn. She is that good.
Listeners who are new to this Paganini work, certainly will find Augustyn's performance an excellent version not only as an introduction to the music but as an enduring benchmark." 

– Niccolo Paganini 24 Caprices, Op.1, Robert Cummings, Classical Net, 2016


Fanfare Magazine

"…beyond amazing (…). Kinga Augustyn is one hell of a violinist. Her technique is tested to the breaking point in the virtuosic pieces, and she emerges unscathed. But also put to the test is her versatility in adapting to the wide range of music and styles presented, and again, she meets the challenge magnificently. Hallmarks of her playing are razor-sharp execution, even in the most taxing technical passages, and a tone of silvery purity high up on the E string, and of full-bodied mocha richness on the G string. That leaves a lot of notes in between, but they’re all produced with equal and even resonance."

– Polish Violin Music, Jerry Dubins, Fanfare Magazine, 2013


Although Augustyn is noted for her technical prowess and the Caprices demand the ultimate in technique, she also makes the most of their lyrical moments. With completely secure technical control, she couples a tapestry of tone color to her innate musicality in tackling these most difficult pieces. Augustyn’s technique is in excellent form and she negotiates all of the Caprices successfully if not always with the finest tonal quality.
Kinga Augustyn enchants her listeners as she draws them to her playing like moths to a flame. Unlike the moths, we listeners are simply set ablaze with a desire to hear more of her playing. She is a fine technician and her download is a technical wonder interlaced with enchanting glimpses of her lyrical ability. I think it is a download every connoisseur of violin music needs to hear. 

– Niccolò Paganini 24 Caprices for Solo Violin, Maria Nockin, Fanfare Magazine, 2016


It’s her dead-on accuracy that astonishes. Her fingered octaves, for example, in the third caprice, are so perfectly in tune that they sound like a single note. Augustyn’s Paganini Caprices may quite possibly be the most spectacular realizations of these violin grotesqueries ever committed to disc… Kinga Augustyn proves that Paganini’s Caprices can be played, and she does so more stunningly and convincingly than anyone else I’ve heard. Kinga Augustyn’s performance of the Caprices is an absolute knockout. 

– Niccolò Paganini 24 Caprices for Solo Violin, Jerry Dubins, Fanfare Magazine, 2016


The Strad Magazine

"…Kinga Augustyn treats both mazurkas with charm and a certain coquettishness, relishing the melodic twists and turns and extrovert technical displays. In the Introduction and Cracovienne and the Andante-Polonaise she keeps a light touch in the energetic fast sections, dancing and laced with virtuosic flourishes.  There is plenty of character to his Romance, and to Zygmunt Noskowski’s Chanson ancienne (…).  She plays Gorecki’s Sonatina in one movement with driving intensity, before opening out into the more spacious Variazioni, in a performance embracing beautifully shaped, pensive melodic lines and darker, biting playing (…).  She shows great sensitivity in miniatures by Paderewski and Lutoslawski before returning to the 19th century for the unashamed virtuosity of Lipinski’s Two Impromptus played with verve and superb control."

– Polish Violin Music, Tim Homfray, The Strad Magazine, 2013

Magdeburger Volkstimme

"We were regaled with a very interesting and memorable presentation of Leonard Bernstein’s Serenade (…). Ms. Augustyn’s flawless technique brought out Bernstein’s special violinistic effects with flair, while allowing the inspiring and moving melodies to speak for themselves. Her rich sound, unblemished double stops, and technical mastery of all difficulties were rewarded by warm ovations accompanied by clamorous 'bravos'."

– L. Bernstein Serenade with Magdeburg Philharmonic Orchestra and Maestro Francesco Corti, Magdeburger Theater, Ulrike Loehr, Magdeburger Volksstimme, 2008

New York Concert Review 

"…Music of Ysaye, Lutoslawski, and Szymanowski proved that Ms. Augustyn is an adventurous programmer valuable to New York’s concert scenes (…). Her playing was riveting and stylistically and emotionally varied (…). her impassioned performances and especially her devotion to new music make her a violinist to watch."

– New York Debut Recital, Weill Recital Hall at Carnegie Hall, Anthony Aibel, NY Concert Review, 2008