“Schub’rdy G’rdy” is a neologism of Schubert and Hurdy Gurdy (…) The Schubertian themes are taken from the “Leiermann” song from the Winterreise cycle, as well as the composer’s “Erlkönig” and “Ave Maria”. (…) The whole piece would have seemed somewhat superficial, like a succession of Schubert quotations simply strung together, were it not for the humorous tone, which brought the piece to life, and the musicians, especially the absolutely terrific soprano Rinnat Moriah, who performed the piece almost as if it were staged.
klassik-begeistert.de, Julian Bäder, 12/04/2017
Vito Zuraj is not very well known in France, which is a great shame. (…) In Ubuquité (…) the narrator invites us on a round-the-world trip, in which lists, word-play and more or less offensive jokes are strung together. The style is polymorphous, and borrows from jazz, flirts with Ligeti’s “Myteries of the Macabre” and explicitly refers to Bernd Alois Zimmermann’s use of quotation (himself cited in both the music and text).
forumopera.com, Par Alexandre Jamar, 24/01/2017
Whilst the musical duties were shared equally, the ensembles took it in turns to begin, as per tennis service. The off-stage orchestra began in the heavens, with the angelic sound of harp and cymbals. On stage, viscous string glissandi were shot around the room as if by exhausted players, before the brass players fired back fanfares in return. (…) This visual and aural dialogue was great fun for the audience. Thierry Mechler’s effervescent and undulating organ part was an intermediary between the on- and off-stage orchestras, creating a playing field for a match in which Vito Žuraj subtly mixed energy and unfamiliar timbres.
KÖLNISCHE RUNDSCHAU, Olaf Weiden, 16/09/2016, about “i-Formation” for two orchestras, premiered on 14/09/2016 at the Kölner Philharmonie
His Tango for Flute and Orchestra is as virtuosic as it is energetic, playing with the popular dance rhythm and throwing the motifs across the orchestra like juggling balls.
THÜRINGER ALLGEMEINE, Ursula Mielke, 29/10/2016
The playful and competitive panache of the new work (…) was immediately apparent. (…) Both the aural quality of the piece and the means of its production were brought to the fore, with its virtuosic construction – generated from the alternately cooperative and antagonistic relationship between the ensembles – always remaining in the service of an overarching sound. This was, so to speak, the mission statement of the piece. There were quarter-tone constellations and urgent and boundary-pushing glissandi; gigantic tutti thunderstorms and expansive soundscapes which huff and puff ; and, in the middle of it all, Thierry Mechler, the Philharmonie’s organist, was even able to perform a rhythmically complex organ part. Again and again, both orchestras had to realise highly precise effects.
KÖLNER STADTANZEIGER, Markus Schwering, 16/09/2016, about “i-Formation” for two orchestras
This colourful and slightly excited music casts a spell over the audience very quickly. Algorithms play a role in this music as well as musical intuition. The result, still, is not a stiff and stereotypical drawing board music – at the contrary.
DAS ORCHESTER, Heike Eckhoff, February 2016 about Hawk-eye on the portrait CD “Changeover”
The recent horn concerto “Hawk-eye” by Slovenian composer Vito Žuraj invites us to “imagine a hawk flying over a picturesque valley and having the ability to zoom in on any interesting detail below”, a neat conceit that gave soloist Saar Berger carte blanche to whirl, dive and generally flit about, musically speaking.
THE GUARDIAN, Kate Molesson, 02/03/2015
The hit of the night, the “Hawk-eye” Horn Concerto by Slovenian Vito Žuraj, is an amazing piece which received a staggeringly-characterised performance by soloist Saar Berger, giving a real bird's-eye view of the world, with the rushing wind in your face and the swoop from a great height onto a luckless prey, with all the rude gulping and devouring sounds, and the inevitable hilarious effects on the digestive system.
HERALD SCOTLAND, Michael Tumelty, 01/03/2015
During the concert “Ensemble Modern remixed!” (…) one would hear the works again in a final Live-Remix, for instance the filigree of trickling sounds and the hocket of a microtonal singing bowl-melody in Vito Žuraj’s work “Restrung”s. The piece had pleased the public with the sensuality of its sounds and its contrasts (…).
FrRANKFURTER ALLGEMEINE ZEITUNG, Elisabeth Risch, 24/01/2013