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"Katarzyna Musial's technique is brilliant, her tone beautiful, sonorous but never harsh, with a great variety of touch, color and nuance. She had made the idiomatic rhythms and inflections of the Dances (A. Ginastera) completely her own, and projected both fiery temperament and songful lyricism."

Edith Eisler
New York Concert Review, 2011


"... Katarzyna Musial's blazing technique on this dificult work (Preludes by O. Messiaen) could have been recorded and marketed ..."

Richard Lynde
Register-Pajaronian, CA, 2002


(...) The pianist entered with fluency and ease into the ethereal harmonic colors of the French master. The second Prelude was shimmering and brilliant; I would love to hear Ms. Musial perform all the Messiaen Preludes, as she has a natural affinity for this music.

(...)What I liked about Ms. Musial’s interpretations, though, was that she plumbed the Bukoliki’s emotional depths, imbuing them with warmth. It is good to remind listeners that small pieces can carry large emotions and she did just that.

(...)“Il Vecchio Castello” was wonderfully evocative; “Tuileries” was vividly detailed; and “Ballet of the Unhatched Chicks” was a pure delight, fleet-fingered and energetic.

Rorianne Schrade
New York Concert Review, 2011


"Katarzyna Musial’s prodigious digits and tonal massiveness were impressive and appropriate for the driving, moto perpetuo called for in the Allegro Molto in Henryk Górecki’s two movement Concerto for Piano and Strings"

Harris Goldsmith
New York Concert Review 2012


"Musial is a major talent, blessed with an astounding technique and an interpretive panache..."

"Lutoslawski’s Bukoliki danced with joyous abandon, the pensive middle section adding piquant contrast. And Musial found the moody edge and embryonic originality beneath the Chopin and Bartok influences in Henryk Gorecki’s Opus 1, the Four Preludes."

"Most impressive was her Spanish set. The pianist romped through piano works by Ginastera, Lecuona and Turina with swaying rhythms, elastic rubato and dazzling bravura."

Lawrence A. Johnson
Chicago Classical Review, 2013


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