24 Caprices for Solo Violin
by Nicolo Paganini, performed by Kinga Augustyn
Kinga Augustyn , award winning Polish-born and New York City-based violinist, has been described as “an adventurous performer valuable to New York’s scene” (NY Concert Review), “violinist for whom nothing seems too difficult” (Polish Daily News), “stylish and vibrant” (The Strad Magazine), and “beyond amazing, one hell of a violinist!” (The Fanfare Magazine). She has performed as a soloist with many orchestras including the Magdeburg Philharmonic Orchestra, the Chamber Orchestra Leopoldinum, the Wroclaw Philharmonic Orchestra, the American Academy of Conducting Orchestra, the Rogue Valley Symphony, the Glacier Symphony, and the Riverside Symphonia. As a soloist of The Manhattan Symphonie, Augustyn made her Asian debut in 2014, performing multiple concerts at China’s t prestigious Poly Theater in Beijing’s and Shanghai Oriental Art Center. As a recitalist and chamber musician she has performed at at Carnegie Hall, Alice Tully Hall, The Metropolitan Museum of Art, Merkin Hall, Bargemusic, The Aspen Music Festival, The Polish and Hungarian Embassies in Washington, DC, and Chicago’s Cultural Center.
Kinga Augustyn’s recordings include Glen Roven’s Runaway Bunny Concerto with Catherine Zeta- Jones as a narrator, as well as Kenneth Fuchs’ Falling Trio for Naxos.
Caprice No. 1
Kinga Augustyn
Kinga Plays
Caprice No. 2
Site Title
Paganini Kinga
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
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.…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, The Fanfare Magazine, 2013