General reviews

“Zinovjev (born 1988) has established a highly personal relationship to the tonality, which in combination with an unfailing dramaturgical mind and a flawlessness for orchestral music makes him a rather odd bird in today’s domestic composer heaven.”
Hufvudstadsbladet, 10.4.2021

“Born in 1988, composer Sauli Zinovjev is on the rise. The premieres of numerous orchestral commissions have presented harmoniously beautiful, streamlined and delicate music with enough interest in the textures, sometimes even edging.”
Finnish Broadcasting Company YLE, 1.12.2021

“Zinovjev clearly has an excellent command of collaboration with musicians and an advanced understanding of sound and of drama.”
FMQ (Finnish Music Quarterly) 6.5.2021

Reviews of Piano Concerto (2019)

“It is an extremely elegant and eventful piece of music that tests both the orchestra’s and the piano’s dynamic boundaries with both pecking treble and thundering bass rumble.”
Johanna Paulsson / Dagens Nyheter, 5.2.2022

“The concerto gets the listener’s emotions moving, it evokes a strong pathos, a lyrical desire to dream and wild playfulness. It’s a grand and fast-paced virtuoso concerto that also has its meditative calm sides.”
Hannu-Ilari Lampila / Helsingin Sanomat, 8.1.2022

“Zinovjev, himself a pianist, has written an idiomatic and grateful solo part seen from every conceivable point of view, specially designed as it is for Icelandic star pianist Víkingur Ólafsson”
Mats Liljeroos / Hufvudstadsbladet, 9.1.2022

Reviews of Wiegenlied (2020)

“A short masterpiece, a lived soundtrack in just eleven minutes.”
Olav Emil Aune / VL (Vårt Land), 20.8.2020

“The master orchestrator Zinovjev has painted a dramatically dark mood, sometimes slightly anxious and quite magnificently colored fresco.”
Mats Liljeroos / Hufvudstadsbladet, 23.12.2021

“Zinovjev’s melodic language is emotionally contagious. Wiegenlied is a work that creates large sound images, in which the orchestral nuances are skilfully utilized.”
Sonja Saarikoski / Helsingin Sanomat, 23.12.2021

Reviews of Un Grande Sospiro (2018)

Un Grande Sospiro goes further than Munch’s painting, as the music gradually leads us out of the manic state we found ourselves in, to a new place where – as a fitting Kafka quote on the last pages of the score says – the spirit is different. Zinovjev’s outstanding sense of dramaturgy makes me wonder if he should embark on the world of opera sometime in the future?
Martin Malmgren / Hufvudstadsbladet, 26.10.2019

Reviews of “Die Welt – ein Tor” (2017)

“Zinovjev’s music is characterized by an intensity that is unusually strong, here there is also a developed melodic dimension that is almost as rare among colleagues. As for the pitches, Zinoviev in no way shuns the tonality, rather it is as if he was approaching it again. It is crowded with triads, which are often beautifully expanded and as far as the harmonious construction is concerned, you often hear deep undercurrents. In terms of form, Zinovjev’s compositions sometimes seem like amoebas – very flexible and to some extent indefinite.”
Wilhelm Kvist / Hufvudstadsbladet, 4.2.2018
In the space it creates, the questions it poses do not remain one-dimensional, but move from cramped to dreamy melancholy.
Sonja Saarikoski / Helsingin Sanomat 20.2.2021

Reviews of Batteria (2016)

“Batteria is a bravely personally drawn calling card that may lead far.”
Matti Sauramo / Demokraatti, 3.2.2017
"It began with "Batteria", a piece by Finnish composer Sauli Zinovjev, born in 1988, bursting with vitality. Mäkelä and the Philharmonic offered it as a percussively flashing, elastically thundering, then again smoothly melancholic virtuoso piece for large orchestra. The composer present, Mäkelä and the musicians were showered with bravi."
Harald Eggebrecht / Süddeutsche Zeitung 16.6.2022