The music of Hanna Kulenty Kulenty quotes Press quotes
Press quotes
Some press quotes about Hanna Kulenty’s music, in random order.
One of the great modern pieces.
Thea Derks, 2016, musicologist.
About Kulenty’s opera ‘The Mother of the Black-Winged Dreams’
One of Poland’s most interesting composers of the middle generation.
Graham Dixon, 2002, BBC program note
‘Trumpet Concerto’ (2002), which received the first prize at the 50th UNESCO’s International Rostrum of Composers 2003, reveals a composer who mastered her resources and is able to draw from her vocabulary to highlight the virtuosity of the soloist and the rich sonorous palette of the orchestra.
Maja Trochimczyk, 2004
After the Munich premiere, euphoric reviews appeared. Finally again a viable modern chamber opera was born. The reactions of the Hamburg audience confirmed the unique position of Kulenty’s opera ‘The Mother of the Black-Winged Dreams’.
Hamburger Anzeigen und Nachrichten, 1997
Never before I had heard such splendid music, composed by a woman. Since a long time a had the feeling that a piece should have lasted longer. Was this a new revelation of Polish music?
Jan Weber in Zycie Warszawy about ‘Ad Unum’, 1986
Because of the unusual maturity of her compositional talent, in 1986 Kulenty, became the youngest member of the Union of Polish Composers, and is now considered the rising star of the Polish compositional scene.
Maja Trochimczyk, 2001, in Notes on Polish Women Composers.
During the Warsaw Autumn Festival 1999 the bristling energy of Hanna Kulenty’s ‘Sinequan Forte B’ for cello and orchestra, was given an energetic world premiere by Michael Müller. Kulenty is a fine composer whose work we should hear more often in the UK.
David Wordsworth, 1999, at www.musicweb.uk
In December 1996 I returned from a trip to Germany singing the praises of a composer named Hanna Kulenty. I had seen Kulenty’s chamber opera ‘The Mother of Black-Winged Dreams’ in Munich, and found it brave and resourceful.
Kulenty was at the University of Southern California in Los Angeles where three of her chamber works were performed; one, ‘A Sixth Circle’ for trumpet and piano, had its world premiere.
I will continue to sing her praises. What I have heard of Kulenty tells me of a headstrong experimenter with some powerful ideas about pounding on and rewarding a hearer’s senses. Best of all was the new trumpet piece, setting a strong and shapely lyric line for the trumpet against a breathless perpetuum mobile from the piano. Her Second Piano Concerto is a knockout piece. Tell me about there not being any new composers.
Alan Rich (in LA Weekly), April 1998.
The success of Kulenty’s opera ‘The Mother of the Black-Winged Dreams’ of 1996 makes her one of the leading figures on the Polish composers’ scene.
Andrzej Chlopecki in 1999, for the Adam Mickiewicz Institute.