Presto Magazine

(...) The highlight of the evening was the performance of Kinga Augustyn, who performed the Second Violin Concerto in D major - "Military" op. 21, by Karol Lipiński. The composition is extremely difficult, yet it sounded very precise under the artist's fingers, and at the same time very singing. There is something very spiritual in Augustyn’s playing, besides the mathematical precision. As one of the listeners said - it is like she is telling stories with the violin. And I find it difficult to disagree.  In both a "combat" form packed with difficult technical passages, as well as in every other composition played by the artist, one can hear how deeply she experiences each note she plays. She is not just playing the notes. She lives the music with her whole self, and the emotions pass onto the audience.

– K. Lipinski Violin Concerto No. 2 in D Major “Military” with Sudeten Philharmonic Orchestra and Bartosz Żurakowski. Adrian Nowak, Presto Magazine,  


Music Web International

(…) In the four very disparate works for violin and orchestra here Kinga Augustyn is quite amazing, bringing to life music of merit that otherwise might languish in total obscurity. (…) In the two-movement Spanish Fantasia Ms. Augustyn and the orchestra infuse the music with energy and incandescence and evince a sun-filled Spain in all its prismatic harmonies and rhythms. The violinist manipulates her tone so deftly, makes the music dance with resilience, and subtly accents and caresses phrases to great effect, all to capture convincingly the Andalusian spirit. She delivers a brilliant account of the second movement cadenza. By the way, the composer uses only original themes in this work, which is testimony to how thoroughly he soaked up the native music styles during a sojourn in Spain.

Ms. Augustyn’s accounts of Niggunim and Capriccio in Blue are equally convincing, offering further evidence of her uncanny ability to interpret effectively totally different styles of music, to move seamlessly with idiomatic genuineness from Spanish to Hasidic music and then to the blues. But her performance of the Concerto may be the most impressive here. She captures perfectly the emotional tenor and signature character of each movement: the dark lyricism and disquiet of the first, the tranquil beauty of the second, and brilliance and wit of the finale. Try her stunning account of the cadenza in the finale, played about as well as one can imagine. (…) As for Ms. Augustyn, she is emerging as a rare talent, perhaps soon to be a major star of the concert stage.

– Romuald Twardowski: Violin Concerto and Other Works. Robert Cummings. Music Web International, February, 2019


Gapplegate Classical-Modern Music Review

(…) The whole of it is beautifully given to us with violinist Kinga Augustyn holding forth as needed with a sturdy yet impassioned robustness that always seems just right for the tenor of this music (… ) The "Violin Concerto" is the linchpin work as far as providing a soaringly singular voice for the solo violin that Augustyn responds to with angelic charm. All the concerted pieces serve to extend Twardowski's vision of the violin's role today in such things. Score and performance nicely conjoin in happy confluence. (…) Each work has a pronounced flavor, definite character, from the rhapsodous plainspokenness and then impish sprightliness of the "Violin Concerto" to the pronouncedly Jewish melodiousness of the "Niggunim 'Melodies of the Hasidim,'" the Gershwinian tang and tinge of "Capriccio in Blue," the lively and convivial Spanish tinge of the "Spanish Fantasia." (…) If you are a lover of strings you will appreciate what is done with them by Twardowski and the performers here. The music has Modernity without necessarily following the typical models of how that might come into play and harmonic-melodic strains are not so edgy as they are folk-like in some fundamental sense. There is a natural brilliance to his idea of what sorts of things the block of orchestral strings and the solo violin can do. (…) A big bravo to violinist Kinga Augustyn! 

– Romuald Twardowski: Violin Concerto and Other Works. Greg Applegate Edwards. Gapplegate Classical-Modern Music Review, February, 2019


MusicWeb International

Following her impressive traversal of the 24 Paganini Caprices on Roven Records in 2016, Polish-born, New York City-based violinist Kinga Augustyn again takes on music for solo violin, this time the less frequently encountered Twelve Fantasias by Georg Philipp Telemann.

They are not as commonly heard or recorded as Bach’s sonatas and partitas, nor are they as difficult. Still, they present significant challenges for the performer, but more importantly offer the listener very rewarding music.

This Centaur album comes across in several ways as an attempt to impart a certain amount of authenticity to the performance. On the cover of the booklet Ms. Augustyn is shown wearing an exquisite gown, its olden style likely dating to the era of the composition. Telemann’s Fantasias were published in 1735, and the violin Augustyn is holding in the photograph, was made in 1734. It is a quite impressive sounding Antonio Zanotti instrument, on loan to her from a private collector. In his review of this CD, Dave Billinge perceptively noted that the bow and other accoutrements are of very recent vintage but suggested that these modernizations don’t detract from the performance. I’ll second that as I think the sound of the instrument is most pleasing and certainly appropriate.

The Fantasia, as Telemann used it, is a multi-section work in two forms: four-movement Church sonata structure, slow, fast (fugue), slow, fast – or the more conventional form, fast, slow, fast. To some listeners, the uninitiated in particular, the music here may initially sound dry and barren, in need of a second instrument for accompaniment, but the music becomes more appealing upon repeated hearings, becomes an acquired taste, so to speak. In performances this excellent, it is easy to develop that ‘acquired taste.’

As on her Paganini disc, Augustyn plays with accuracy, impeccable tone and virtuoso technique. Indeed, and her interpretations are convincing in every piece here, the Baroque spirit of the violin and Telemann’s mastery abiding throughout. The profundity and weighty nature of the slower movements, and energy and brilliance of the faster ones both brim with character and heart, and in the end are simply captivating.

Try No. 7, the E-flat major Fantasia, which is the longest of the twelve here, and notice that the sense of solemnity in the opening movement never drags or lacks spirit, but speaks its sadness eloquently. Dynamics are well judged and Augustyn’s tone is beautiful. The ensuing Allegro section bristles with life and strength here, and the digital clarity of the playing is exquisite. Another slow section (Largo) is profoundly moving in Augustyn’s deft phrasing and the brief closing Presto is vivacious and thoroughly convincing.

Pick any of the other eleven Fantasias on the CD and Augustyn is just as effective and compelling. The notes provided by Gabriel Schaff are very informative and Centaur’s sound reproduction is vivid, actually ideal for this kind of work. Violin aficionados and Telemann mavens will find this a most satisfying disc.

– 12 Fantasias for Solo Violin by Georg Philipp Telemann. Robert Cummings, MusicWeb International, October 2018


Fanfare Magazine

(…) I have to say that Augustyn's Bruch really surprised me. I guess I was expecting another run-of the- mill performance that was note-perfect in all of its particulars but that didn't have anything special to say. That wasn't the case at all, however. The first thing that struck me was the richness and smoothness of Augustyn's tone, which seems to flow from her instrument with unforced naturalness. I was also struck by how expressively she phrases without resorting to heavy vibrato or persistent portamento. In fact, her use of portamento is so infrequent and so poignantly timed on the few occasions when she does use it that the effect is intensely intimate, as if she is imparting a personal secret. Most of what Augustyn accomplishes on the expressive, emotional level is done with the bow. The fingers find the notes, but it's the bow that makes them speak and sing, and Augustyn's bowing is exemplary. Where other players cut short the held note values, especially on double-stops, to set up for the next double-stop or chord, or in anticipation of a string crossing or distant shift, Augustyn gives the note values their full due ( ...

All in all, this is a really beautiful Bruch. Listen to what Augustyn does with the three Gs in the sixth bar of the second movement. She attenuates each note ever so slightly with her bow just after pressing into it, making each of those Gs speak in a knowing way that's extremely moving. Truthfully, I'd become rather jaded towards the Bruch No. I after hearing it played so often by so many violinists, but Augustyn's performance is not just another routine run-through. Her reading tells me that she has given the piece a great deal of thought and that this is music she responds to on a deeply personal and emotional level.

– Violin Concertos, with the Janacek Philharmonic. Jerry Dubins, Fanfare Magazine, March/April 2018


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


Classical Net

(…) 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, 201


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