The composition received initially mostly positive reviews from Polish and European critics. German music critic Detlef Gojowy described the compositions as bearing strong influences of
Richard Wagner and
Dmitri Shostakovich. Andrew Porter, from
The New Yorker, was also struck by the composer's exquisite use of the twelve ocarinas. However, Polish magazine
Ruch muzyczny stated that
The Dream of Jacob did not "fulfill the emotional expectations of the German audience”, but the logic and clarity used in its composition was heartily welcomed. Bernard Holland, from the
New York Times, highlighted that the
Kraków Philharmonic's performances were reviewed favourably, but also noted that the people "would eventually tire of the riveting sounds in his works and begin to wonder why its musical ideas do not flow together more effectively". Penderecki was also criticised by the
Jerusalem Symphony Orchestra for the difficulty of the notation, and June Schneider, from
Music and Musicians, questioned if the composer "is able to provide anything other than superficial sound manipulations". ==In popular culture==