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AS BIDDETH THY TONGUE (2006)

Kati Agocs

"A perfect large-scale solo work...As Biddeth Thy Tongue feels like a dramatic soliloquy and possesses a wide expressive range thanks to its juxtaposition of great lyricism and extended techniques" - Sequenza 21

"Displays gradients of nuance rarely heard from Adolphe Sax's unweildly invention." - Innova

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EVERY LOVER IS A WARRIOR (2006)

Kati Agocs

"sensitively scored...naturally attuned to the harp's evocative qualities" - The Washington Post

"a powerful, ruminative suite" - Time Out New York

"like a series of haiku poems, written with an economy that allowed room for the listener to contemplate a multiplicity of meaning as well as the subtle interruptions in symmetry that told you that nothing was what it seemed" - The Philadelphia Enquirer

"The virtuosic first movement of Every Lover Is a Warrior, based on the Appalachian ballad “John Riley,” had [the harpist] wheeling and tumbling through the octaves, drawing out striking, earthy tones. The solo instrument became a full bluegrass ensemble, both melody and rhythm." - The Boston Globe

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HYACINTH CURL (2016)

Kati Agocs

"Exceptionally transporting...the voices swooned in the sinuous but sparse lines of a Sufi devotional poem, overlapping and swelling into rapturous harmony before joining at last in unison. Occasional arresting peals from the singers’ handbells provided the only accompaniment." - The Boston Globe

"Subtle expression comes to a heated text, ending with the poet turning to worship the face of his beloved as the bells ring over and over.... a restrained but effective aesthetic seduction." - The Boston Musical Intelligencer

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NORTHERN LIGHTS (2012)

Kati Agocs

"Northern Lights ignites with sharp dissonances, moving through a fluty warm melody in the second movement; a Newfoundland folk song comes third, followed by an emotionally complex setting of the “Huron Carol.” The fifth movement swells, then trails off in a rapidly glittering auroral arpeggio" - The Santa Barbara Independent

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SAINT ELIZABETH BELLS (2012)

Kati Agocs

"Saint Elizabeth Bells conjured up a hallucinatory world of overtones, musical material derived from church bells....the peculiar richness of the cimbalom generated layers of harmonic haze within which the sang with lyric melancholy." -The Boston Musical Intelligencer

"In nine minutes, [the cellist] streamed through the spectrum of human emotions. Her instrument’s sound trembled and roared under the otherworldly ring of [the] cimbalom, a hammered dulcimer that sounds like a piano echoing in a dream." - The Boston Globe

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