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Track(s) taken from CKD420


1939; originally for flute and piano

Katherine Bryan (flute), Royal Scottish National Orchestra, Jac van Steen (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
Henry Wood Hall, Glasgow, Scotland
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: May 2013
Total duration: 8 minutes 19 seconds


Bryan certainly has complete mastery of the technical and expressive demands, as she does in Ibert's Concerto of 1933. Exuberance of spirit coupled with the mellowness of her golden timbre lend the first movement a lightness, energy and mellifluous fluency, with the rich sonority of her flute's lower register coming into its own in the central Andante. The final Allegro scherzando, exercising any soloist's dexterity and breath control, is played with captivating élan, the orchestra etching in its contributions with rhythmic point … her playing of Debussy's Syrinx, the ne plus ultra of the solo flute repertoire, is exquisitely eloquent' (Gramophone)

'Throughout the Rouse, Bryan plays with brilliance, dexterity and sensitivity, fully matching the demands and responses placed upon the soloist. Bryan is principal flute of the Royal Scottish National Orchestra as well as an established soloist. Her colleagues and the versatile Jac van Steen give her sterling support and the SACD recording is excellent' (International Record Review)» More

'Bryans kristalliner Ton schwebt durch den Raum und macht die intimen Momente der music zu einem besonderen Erlebnis. Nicht minder geht ihre klangliche Expressivität unter die Haut. In jeder Note fühlt man die innere Spannung, die von schillernden Orchesterfarben nach-haltig untermalt wird. Äußerst reizvoll ist auch Bryans Interpretation des Ibert-Konzerts: ein berührender, warmer und klarer Ton, eine verspielt-poetische Sicht auf eines der zentralen Werke der Flötenliteratur' (Pizzicato, Luxembourg)» More
The Swiss composer Frank Martin (1890-1974) spent time in Paris in the early 1920s, where he is sure to have become acquainted with the music of Debussy. Over the course of his career, Martin composed a series of what he called ballades – one-movement works featuring a solo instrumental part. The Ballade (1939), one of the earliest, was composed after Martin returned to his home town of Geneva, having spent time exploring different musical styles in Zurich and Rome as well as Paris. The piece was written as a compulsory work for the inaugural Geneva International Music Performance Competition. It was written for flute and piano, with the orchestral accompaniment of strings and piano added later.

In the early 1930s, Martin became acquainted with Schoenberg’s twelve-tone technique, which was to influence much of his subsequent work. Elements of the twelve-tone form can be heard in the Ballade, although the piece is largely tonal and Neoclassical in style. It poses many challenges for the performer: it is filled with wide harmonic leaps, which the performer must tackle while also maintaining a lyrical melodic line; and the work tests the full range of the instrument, not least with a memorable section for the low register, accompanied by an effective ostinato in the orchestra.

from notes by Femke Colborne © 2013

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