“Judith Shatin is a painter of musical scenes; in fact, at times, she manages to rearrange our various brain functions to operate senses normally controlled by other lobes – for example, we truly see visual images associated with her notes. She doesn’t write programmatic music per se; it’s more subtle and complex than that, something magical that Hasse Borup and Mary Kathleen Ernst of the Borup-Ernst Duo are especially suited to demonstrate here in Tower of the Eight Winds, Shatin’s new Innova release.”  –Fanfare, David Wolman

“[Tower of the Eight Winds] encapsulates Shatin’s ability to create well-defined, imaginative structures and to develop her ideas with clarity and vigor…”  – Fanfare, Jeremy Marchant

“I’d like to hear more of Shatin’s music. She is able to produce ingenious and unusual music while, at the same time, retaining a certain accessibility and common musical lingo with universal emotional appeal.” –Fanfare, Jeremy Marchant

“Judith Shatin’s powerful Akhmatova Songs are luminous settings of three poems by the iconic Russian poet. While handsomely contrasting in mood, all three songs boast crystalline text settings and an ear for darkly glittering instrumental sonorities. The arresting second song, All is Plundered, speaks of how the void left by an unnamed catastrophe is filled by an improbable sense of hope. Shatin sets the text with gleaming vocal lines that soar high above a roiling cauldron of strings, woodwinds, and piano.  –The Boston Globe

“Two works by Judith Shatin, her L’étude de Coeur for Solo Viola…and her Doxa for Viola and Piano…proved musically riveting and brilliantly devised for the instrument. –The Strad

“The other recent piece here is Ignoto Numine, a fine 15-minute work by the intriguing Judith Shatin. The profusion of musical ideas is both engaging and splendidly controlled; and it gets a committed reading.” –San Francisco Chronicle

“The instrumental pinnacle was Judith Shatin’s Elijah’s Chariot, a symphonic poem for string quartet, with the four instruments representing the wheels of the prophet’s fiery conveyance to Heaven…  –Pittsburgh Post-Gazette

“…Judith Shatin takes an evident delight in the textural possibilities of sound, and her Secret Ground played freely with techniques for flute, clarinet, cello and violin. But Shatin never used effects for their own sake. This was highly inventive music on every level: hugely enjoyable and deeply involving, with a constant sense of surprise.” –Washington Post