Related Reviews
Maestro Steve
4 Stars
'Highly recommended!'
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Daily Telegraph
4 Stars
‘...appealingly liquid timbre, fluency and pearly articulacy...'
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Classical Candor
'Bryan is a flutist of the first order, her playing sensitive and flowing.'
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Pizzicato
‘Bryans kristalliner Ton schwebt durch den Raum und macht die intimen Momente der music zu einem besonderen Erlebnis.’
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Fanfare
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American Record Guide
‘Energy and intensity is the key to a performance of the Ballade by Swiss composer Frank Martin (1890–1974), and Bryan doesn’t let up.’
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MusicWeb International
‘...a fine performance...'
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International Record Review
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Gramophone
Choice: '...exquisitely eloquent...'
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BBC Radio 3 'CD Review'
'...an interesting programme'
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Maestro Steve
‘…captured in Linn’s sonic splendour, [it’s] simply amazing to hear…Highly recommended!’
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McAlister Matheson Music
'Bryan offers effortless, impeccable performances…’
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The Scotsman
Interview & Review: 'A follow-up disc that is every bit as charming, lively and challenging as the first...[and] offer[s] up a delicious cocktail of rare and beautiful music. Bryan's wistful performances do every one of them justice.'
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Hi Res Mac
‘Das wird der munteren, spielfreudigen und sehr genauen Interpretation nur gerecht.’
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HighResMac.com
'Bryan überbrückt den Spagat zwischen moderner Atonalität und harmonischer Auflösung mit feinem, warmem Ton und zeigt, warum sie als eine der besten Flötistinnen Britanniens gilt.'
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Classical Daily
‘Young flautist Katherine Bryan is rapidly establishing her place as one of Britain’s bright musical stars of the future.’
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Dagogo
‘Katherine has chosen a program that places maximum demands on her and the RSNO but one that delivers maximum pleasure for the listener… astonishing pyrotechnics from both the flute and the orchestra’
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Katherine Bryan - plays Flute Concertos by Christopher Rouse and Jacques Ibert - AllMusic.com


28 May 2013
AllMusic.com
James Manheim

Among the young British instrumentalists vying to pick up the mantles of the great soloists of a generation ago, flutist Katherine Bryan seems among the most promising, and she takes a major step forward with this, her second release. Her startlingly clear, bright articulation in the upper register is pleasing on its own, yet the real attraction here is that she approaches a repertory intelligently and brings fresh perspectives to it. The Flute Concerto (1993) of Christopher Rouse only seems to be the odd item in the set; Rouse's instrumental writing, with its intricate grasp of texture and register, is truly a descendant of the French (and French-Swiss) music on the rest of the album, and it was an inspired choice in terms of showcasing Bryan's technique as well. The three central movements have a memorial tone, with flute solos woven into Rouse's characteristically spacious chords, and Bryan has the stamina to stick with the long line here. Ibert's delightful Concerto for flute and orchestra (1934) receives an absolutely crackling performance from Bryan. Only then does Bryan introduce Debussy's Syrinx, a little work that looms over this entire repertory. It superficially resembles the music from Prelude to the Afternoon of a Faun, but it's actually a different kind of animal, cast in the economical language of Debussy's late style. It leads perfectly into the final item, Frank Martin's Ballade (1939), one of the few attempts to reconcile the twelve-tone system with the French style. The entire program holds together in a way that makes it more than the sum of its parts, and the support from the Royal Scottish National Orchestra under Jac van Steen matches Bryan step for step. An immensely satisfying flute-and-orchestra recital.
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