The cimbalomplayer Katerina Zlatnikova is a charming and amiable ambassadress of music mastering with natural ease all the difficulties of her instrument. She knows how to produce the tone quality of an entire orchestra, so that the cimbalon which is almost unknown in our country does not only arouse interest, but gives a lot of pleasure and enthusiasm.
A unique event: Cimbalon concert in Delmenhorst,
Meeting with an unusual instrument, which the public could even examine more closely, and meeting an extraordinarily gifted artist. She demonstrates that one cannot only perform playing in the gypsy style, but that music which is specific to this instrument can be brought about.
Parish Church of Nagold ... a cimbalon
- an experience! May 1975 ...
The second performance of Nagold church musician Gerhard Kaufmanns triade of a dance-death-dialogue was heavily symbolic: when for instance he pushes the organ pipes out of their anchorage to indicate the "vocal blow", he succeeds in creating the moment of surprise as well as including improvizing impulses by alternating with the cimbalon, which is employed solistically in the middle movement and sings its death song, being plucked by hands in black gloves ...
The Hungarian Róbert Wittinger uses the cimbalon character with remarkable aptness in his "Strutture simmetriche" by imposing rhythmical structurings parametrically and with slight sound alienations by plucking, stroking, tickling and clappering the strings. W. Zintgraf
Artistry with two mallets
Gedok-Haus Stuttgart September 1976
There was Erhard Karkoschkas "Cimbalon Splitters" (1974), to be heard, a very convincing piece, because the Stuttgart composer gave great attention to the sound facilities of this medium with much intuition, included vocal refinements and provoced new playing techniques. The fact, that he adapted quotations from Bach to Chopin in a humourous way in the concluding "perpetuum mobile" gave an additional stimulus to the interesting and delicate piece of music....
Workshop "Contemporary Music with Cymbal"
in the "Forum" Leverkusen
Katerina Zlatníková gives reasons for her affection towards her instrument: differently to the piano the contact to the strings is very close. How true! Katerina Zlatníková modulates the tone colours in various ways. She touches them affectionately or hits them in a firm and edged way.
Impressing as composition Markus Lehmann's "Anathesis - Dithyrambus (first performance) and Z. Vostřák's "Hieroglyphen"... I. Schw.-Ru.
Intoxicated by the cimbal Neue
Presse Frankfurt, Fabruary 1981
First performance of a concerto of Johannes Fritsch "Die Hugenotten" in the Hessian Radio
... Hereabouts the cimbalon ... has generally been the "Hungarian", an exotic instrument. For Fritsch's "Huguenot concerto" it has in a way taken over the part of a perverted piano, a strange and at the same time charming hermaphrodite position. Alienation on one hand and invitation to "folklore" on the other hand... The soloists played with vehement involvement.
From the album of a cimbalist
Stuttgarter Zeitung Aug.1987
An event that had never happened before in Stuttgart: A soloist concert in which the interpreter only played pieces composed for herself. There was a lot of nuance dexterity
Stuttg. Nachrichten Aug. 1987
Everything about her is extraordinary. Her public appearance, her biography and above all the inimitable way of playing the cimbalom.
Unusual combinations, playing with exotic
colours Limburgerhof, May 1985
Erdmanns "Jeu" extremely nervous and attractive playing with colours, refined counterpoint and rhythmic mobility. A piece of music which offered the opportunity, especially to the flutist, to stray far away. His playing is nourished by reverie and fancy.
The variety of cimbalom and flute
Rommelshausen, January 1987
Astonishing unity of performance of the duo. This ensemble is perfect. "Fairy Tales " in which Zilka creates romantic mood and wonderful melodies.
Effortless playing on a first-class instrument
Sindelfingen, Odeon, November 1991
Alone the sound of the cimbalon can be fascinating... together with Stephan Zilka, who complemented Katerina Zlatníková in an impressing way, a seldom degree of expressiveness and perfection is achieved. With floating lightness and sensitive devotion the top-class musicians tackled the rythmically complex music with concentration and superiority and lent them almost a plastical expression. K. Sch.
Sounds like drops of water Odeon,
February 1993, Third "Tonkünstlerfest"
... rumbling thunder against wood, strings are strained to the breaking-point, thunderstorm-like dulcimer sounds, created by various little mallets, pound with virtuosity, disharmonically and vehemently - a modelled vocal sound flows over, eye and ear experience Georg Lawall's "Anderseits op. 41 - Awake, Learn, Love". :
It was certainly no easy listening, regarding the fact that the virtuoso mistress of this instrument has dedicated herself to contemporary music.
... because Katerina Zlatníková's imagination concerning tone colours and associativeness seems absolutely unlimited. Kreiszeitung, D. Szir.
The tone colours of the cimbal Sindelfinger
Zeitung, February 1993
Katerina Zlatníková knows how to elecit the greatest variety of tone colours out of the strings by using the most different materials including glasses... The highlights of the concert were the sensitively created works of chamber music..
The musical cooperation with the soprano Sabine Leppin proved to be particularly productive. Leppins rich voice colour, as well as the warm tone colour of the cimbal awakened the deeply rooted emotional quality of the songs of Leoš Janáček and Markus Lehmann.