Kat Sounds Music - Kat Souponetsky
The music publishing company of Kat Souponetsky
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Reviews & Quotes

...quick-witted, tightly constructed and ruefully introspective, with propulsive, sometimes jazzy rhythms and suave textures.”
— The Oregonian
One standout from the student compositions was Kat Souponetsky’s The Dniester Flow. Notably, it did not use any extended techniques, instead drawing on the saxophone’s abilities at lyricism and rhythmic excitement. The constant flow and pulsation of the beginning ostinato had an off-kilter catchiness that stayed with me after the concert. Souponetsky contrasted the ensemble interaction with moments of lyrical melody played by individual members of the quartet, which allowed for each performer’s expressivity to come alive and highlighted the four saxophone’s different timbres. Souponetsky’s extra-musical inspiration—the Dniester River that runs through the Ukraine and her native Moldova—felt real and palpable in the music.
— David Pearson, I Care If You Listen
A Passionate and real talent!
— John Corigliano, Academy Award-winning composer
Trained both as pianist and composer, Kat Souponetsky has created a collection of piano music that not only has enormous pedagogical value for young students but also is musically imaginative and excellent in its compositional craftsmanship. This is a wonderful collection of short pieces for the budding pianist.
— Christopher Rouse, Pulitzer Prize and Grammy Awards winning composer, The Juilliard School
Kat Souponetsky’s book of piano studies is written with a wide variety of students in mind. The music is inventive and fresh, and these volumes are an excellent resource for anyone who wants to learn to play piano, raise their current skill level, or as a supplement to older lesson materials for people looking for new music to play. Students will have fun while improving their technique; this is a terrific addition to the literature of piano study.
— David Ludwig, composer, Curtis Institute of Music
Kat Souponetsky’s new work, “Winter Winds” for woodwind quintet, was definitely written in a compelling and evocative neo-romantic language. The close shifting of some of the harmonies in lilting parallelisms struck me as spare and cool, but there was also a lot of bouncy propulsion, and the 3+3+2 rhythm was dancelike, perhaps Eastern European but also perhaps Caribbean! Again the ensemble was tight and energized, and I was moved by the fluidity of the motion, for instance as the bassoon at one point begins the ostinato slowly and ratchets it up oh-so-gradually. At any rate, it was a winter that gave us hope for spring.
— Liane Curtis, The Boston Musical Intelligencer