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Staten Island Advance

Staten Island Advance (February 16, 2011) — “…For all its atonal challenges, this 12-tone piece (Shostakovich) is full of invention and beauty and Kutik played it lucidly…Kutik was very much the soulful wunderkind: Innocent and passionate, with an audible gift for drama.”

Preview Magazine, Jason Serinus (San Francisco)

Preview Magazine, Jason Serinus (San Francisco) (September 1, 2010) — “… [Kutik plays with] an irresistibly round and mellow old-world sound that is as equally suited to Bach and Beethoven as to Shostakovich and Shchedrin. Combining the warmth of a centuries-old tradition with the forward thrust of today, Kutik’s playing cuts through the dross and reaches into the heart of music…”

The Berkshire Eagle

The Berkshire Eagle (January 13, 2009) — ”…Taking on Schumann’s rarely performed Sonata No. 2, he and Eguchi achieved a moment of sublimity in the gentle andante movement, a theme and variations based on a chorale-like melody. The prevailing tranquility is interrupted by brief but angry outbursts. In the performance, the alternating states beautifully reflected the gentle Schumann’s condition at that late stage in his life… [in the Prokofiev] he fiddled up a storm in the razzle-dazzle stuff and outright diablerie. The jaunty finale offers a bag of tricks for the violinist, and Kutik, with Eguchi in full agreement, proved himself a suitable trickster…”

The New York Times

The New York Times (August 2, 2006) — “…Ron Ford’s “Versus” (2006) proved an electrifying showpiece for (violinist) Yevgeny Kutik…”

The Berkshire Eagle

The Berkshire Eagle (August 2, 2006) — “…At Sunday night’s penultimate concert…violinist Yevgeny Kutik won the virtuoso award (had there been one) for his razzle-dazzle solo performance in Ron Ford’s “Versus,” a TMC commission receiving its premiere…(Ford) hit upon the idea of having the soloist play an all but independent line over an ensemble of 10 winds and four double basses. Somewhere around the middle, the wind players switch to a panoply of tuned water glasses. In the first part, the ensemble plays a grinding, obsessive pattern that suggests a car-crushing machine run amok. In the placid second part, the water glasses’ shimmer merges with a double-bass drone to produce a spooky effect. What the two parts had to do with each other was a bit of a mystery, but Kutik, conductor Kazem Abdullah and the ensemble went at them with gusto…”