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John Savage
The Flutist Quarterly, September 2016

Throughout the compositions on this CD, Zenz plays without any vibrato, her sound suspended and buoyant. When she plays loudly, her tone is bright and full of overtones. It reminds me of the rich, unaffected soprano sax of Steve Lacy. Her conception is effective in all the works presented here. …I can think of no better way to both perform and listen to Cage’s work. © 2016 The Flutist Quarterly

Ronald E Grames
Fanfare, September 2016

CAGE, J.: Flute Works (Complete), Vol. 1 (Zenz) 8.559773
CAGE, J.: Flute Works (Complete), Vol. 2 (Zenz) 8.559774

Zenz is unfailingly lovely of tone and accurate of intonation. She is conscientious regarding what is given by the composer, and her use of the materials provided by the composer is imaginative. Where rumination is the stated goal, she creates the atmosphere for it beautifully. With the exception of Three Pieces for Flute Duet on the first disc, in which she is joined by New Zealander flutist Uwe Grodd, Zenz multi-tracks multiple flute parts. © 2016 Fanfare Read complete review

Rob Haskins
American Record Guide, May 2016

…The larger works, Ryoanji and Music for Two, are both compelling and among the best performances… © 2016 American Record Guide Read complete review on American Record Guide

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, February 2016

The performances are quite beautiful and Zenz’ artistry is at the forefront. Katrin Zenz has beauty of tone, imagination and a thorough grasp of extended techniques and their application to these works where appropriate.

It is modern avant garde music with an overall gentleness that should appeal to those who shy away from the turbulent stridency of some high modernism, yet it is landmark Cage nonetheless, and will undoubtedly be appreciated by Cage enthusiasts as well.

Definitely recommended. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Ettore Garzia
Percorsi Musicali, November 2015

The innocent structures of Zenz, without excesses, allow us to discover one of the most interesting discographic operations ever made by Naxos. © 2015 Percorsi Musicali Read complete review

David Denton
David's Review Corner, November 2015

You either love or hate the music of John Cage, his innovative and unorthodox ideas of composing still challenging the listener sixty years after they were written. I suppose it shows just how far we have travelled when Ryoanji, in a version for flute, pre-recorded flute and percussion, now emerges as an easy listening traversal of the use of flute glissandi. The soloist is allowed latitude of the pitch and speed of the note being played, and at times undulating into a bizarre melody. The problem for the first-time listener, is that the range of sounds have long been exhausted before the end the work’s nineteen minutes. Three years later, in 1987, the construction of Two, scored for flute and piano, is too complex to enumerate here. Cage offers, on the one hand, a rigid structure, while combining that with the freedom of expression that passes between instruments, and, as with Ryoanji, his fascination with musical silence can become too frequent. Turn the clock back to 1935—when he was twenty-three and in thrall with the Second Viennese School instilled by his mentor, Arnold Schoenberg—and you have Three Pieces for flute duet. Music for Two started as a project to compose a series of works for all seventeen instruments of the symphony orchestra, with separate parts for each that could then be added to one another in any permutation to create a new and different work at every performance. The idea never got very far, and here we have one part in an arrangement for flute and piano that lasts almost half and hour. My admiration goes to the highly skillful playing of the German born, Katrin Zenz, whose technical brilliance is outstanding. And, with her flute and piano colleagues, she here begins a series of the Cage’s complete works for flute. © 2015 David’s Review Corner

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