Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CKD367



Katherine Bryan (flute), Royal Scottish National Orchestra, Paul Daniel (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: August 2009
Henry Wood Hall, Glasgow, Scotland
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: September 2010
Total duration: 7 minutes 52 seconds


'A product of Chetham's School of Music and the Juilliard School, finalist three years running in the BBC Young Musician of the Year competition and currently principal flute with the RSNO, Katherine Bryan certainly makes her mark in the likeable anthology for Linn on which she is backed by her colleagues under Paul Daniel's sensitive lead … I need merely add that Bryan's lustrous tone manages to emerge unscathed within the far-from-accommodating acoustic of Glasgow's Henry Wood Hall' (Gramophone)

'The chief delight here is Lennox Berkeley's orchestration of Poulenc's brilliantly coloured flute sonata from 1957, which packs more ideas into a few minutes than anything achieved in Liebermann's laboured full-scale concerto. Bryan also gives a nimble account of Nielsen's quixotic 1926 concerto, beautifully supported by Paul Daniel and the Scottish National players' (The Observer)

'Principal flautist of the Royal Scottish National Orchestra, Katherine Bryan invests in what she plays with heart and soul. Lowell Liebermann's concerto, written for James Galway, could be labelled 'neo-romantic conservative'. With its long, athletic, curling melodies, it could also be called adorable. Nielsen's concerto brings spikier material. In between, Poulenc's Flute Sonata, in orchestral dress, slips down pleasantly' (The Times)

'The choir of the Temple Church and Holst Singers with the Brass Ensemble of the English Chamber Orchestra, conducted by Stephen Layton, capture the concert-version of this epic eight-hour work. It was conceived to last through the night until dawn, in the spirit of the grand vigils of the Orthodox Church. Tavener regarded it as the supreme achievement of his life. A must for devotees' (The Northern Echo)
The French composer Georges Hüe, while he wrote in a number of genres, was perhaps most well known during his lifetime for his contribution to opera. Born in 1858, and hailing from Versailles, to the west of Paris, Hüe studied with, among others, the noted organist of Paris’s St Clotilde basilica church and professor at the Paris Conservatoire César Franck, and the composer Charles Gounod. While he won the coveted Prix de Rome prize for composition in 1879, and had some notable successes in the Paris Opéra and Opéra Comique, much of his music met with limited success over time, although some of his choral works are of note as well as a number of pieces such as this particular Fantaisie for flute and orchestra.

Hüe composed the Fantaisie in 1913 and dedicated the work to the renowned flautist and professor at the Paris Conservatoire, Adolphe Hennebains, who had commissioned it for the conservatoire’s concours during the same year. Despite much of Hüe’s music being forgotten today, the Fantaisie has proved a durable part of the flute repertoire over the almost one hundred years since its composition. Consisting of a single movement the Fantaisie is a concise essay that demonstrates the many facets of the flute, through frequently changing tempi, disposition and colour. It contains much of the impressionist techniques, musical language and sound world with which Hüe was increasingly experimenting at the time. The opening slow section of the work provides a subtle character that accompanies the more sophisticated flute line. A more lyrical and flowing section ensues with a gathering momentum that continues to the end of the work. While providing a subtly pleasing work the Fantaisie is fairly representative of concours works of the time, containing a number of themes from his previous compositions, notably his operas, while providing a suitable challenge for the player to execute.

from notes by Adam Binks © 2010

Waiting for content to load...
Waiting for content to load...