Reviews
Tessa Brinckman as “the composer is an adroit creator of sound worlds”…an imaginative recital (which) has no difficulty holding the listener’s attention… (with its)…beauty of performance” – the album is “… new music for flute at its imaginative best – 5 stars” – (Fanfare)
“Brinckman has carved out a distinctive niche as composer/performer, exploring with equal confidence modernist techniques (which she has in abundance) an ease in shifting musical and cultural perspectives….and a unique perspective resulting from exposure to the diverse cultures of the Pacific Rim, particularly, the rich spiritual traditions of the Maori… this album repays repeated listens.” (Joshua Cheek)
“this CD (is) for those fascinated by Brinckman’s personal thoughtfulness and creativity” (Infodad)
“her musical tastes as well as her spotless technique are easily the equal of more famous flautists” and there’s “beauty and even sensuality in several of these pieces” (Art Music Lounge)
“one of the most interesting releases of the year” (New Zealand Listener)
Sonus Redux: And the Wave Rolled Back: “..a delicious, multi-layered collaboration…(Joshua Cheek); “captivating and a standout” (Fanfare); “the most arresting piece on the album” (Art Music Lounge)
You Never Come out the Same: “The extended techniques…give the ear plenty of fascinating episodes to settle upon….” (Joshua Cheek)
Tenderness of Cranes: “a deeply insightful reading…” (Joshua Cheek); Recommendation of the Week (New Zealand Listener); “This closeness to traditional Japanese music lends familiarity to Korde’s idiom. That, and the beauty of Brinckman’s performance, makes for an accessible entry point into the program” (Fanfare)
Taniwha: “there is a sense of suspended time”… “and the bullroarer sends chills down my spine” (Joshua Cheek); “entirely unique” (Art Music Lounge)
A Cracticus Fancie: “The recited poem is charming, and the music’s overall mood is fanciful and accessible” (Fanfare); “the compositional choices and musicianship serve up a memorable and deeply affecting six minutes…an unexpected earworm…” (Joshua Cheek)
Dawn Brightens the Day of Mortals Robed in Purple, Zeuze, Wade Through Water: “Pianist Kathleen Supové’s appearance on several tracks adds to the caliber of this recital….Special praise is due guitarist Caroline Delume who negotiates a very detailed and demanding part with ease” (Joshua Cheek)
” A haunting, attractive and virtuosic journey across cultural influences…evokes spirituality…expansive musical borders…vivid, affecting homages…richly expressive…Brinckman is a flutist of chameleon-like gifts, and her colleagues join her in performances of prismatic shading and virtuoso elegance…”– Donald Rosenberg, The Gramophone October 2005
“This disc is wonderful…a delight to spend time with this music…a special sort of Pacific Northwest music style…performers play with conviction and grace…in an increasingly homogenized and monochromatic world, it is important to praise and support performers and composers fostering regional flavors and styles.” – Christ0pher Chaffee, American Record Guide, Nov/Dec 2005
“In addition to being a highlight of Portland, Oregon-based flutist Tessa Brinckman’s [CD has an] exciting collection of recent music for flute and strings…”Frank Oteri, New Music Box, October 2005.
“Brinckman…plays her instrument with great beauty and eloquence…the CD is well worth investigating if you’re looking for music occasionally spiced with an exotic flavor…” – Peter Mechen, Music Matters New Zealand, June 2005
“…their debut CD is one of the loveliest albums I’ve heard this year…” – Brett Campbell, Eugene Weekl,y December 2005
Caballito Negro’s EP Songlines …”bring(s) the music to life from the first note played…expertly produced and played…jumping out of the speakers in a way that suggests a live performance would be worth hearing” – Flutist Quarterly Fall 2016
“The performances are near flawless! Brinckman plays with an absolutely gorgeous tone throughout the full range of all the instruments – even the sensuous, breathy contrabass flute, which really doesn’t call for much bel canto and Longshore’s understated virtuosity is percussion poetry at its best” – Joshua Cheek @ blue-sky-music.com, 2017 Caballito Negro – Songlines Review-JoshuaCheek
“The original score…evokes the sound and feel of China, but the music, so beautifully played…is thrilling and moving in its own right” – Theater Dogs Bay Area Backstage, December 2012Re
“Achingly beautiful original music…” – Bay Area Theater Review, December 2012
A September 2018 review and interview with Matthew Andrews about Caballito Negro’s speculative fiction concert Alone | Together –
“Longtime OSF composer and fellow Southern Oregon University prof Todd Barton’s new “sonus sonorus” for Baroque flute and electronics, is inspired by an 18th century composition of French composer Jean-Marie Leclair. The splendidly diverse program… also includes Brinckman’s own sinuous new Turkish-influenced work “Hüzün Nar,” an energetic little piccolo piece by Australian composer Ross Edwards and music by American composers Shirish Korde (a haunting evocation of Japanese shakuhachi music), Washington’s Alex Shapiro (the mysterious “Below,” which evokes whale song and other aquatic echoes) and a virtuosic, appropriately titled barnburner, “Rapid Fire,” inspired by leading American composer Jennifer Higdon’s reaction to inner city violence. Each piece uses a different style and a different instrument, and Brinckman proved masterful in all of them.” – Brett Campbell, Oregon Arts Watch 2/9/13
“…(Gentle Numbers In Eternity) brought together two of Oregon’s most valuable instrumentalists. Eugene-based Koto virtuosa Mitsuki Dazai is the state’s primary exponent of the Japanese zither, while Ashland-based flutist Tessa Brinckman has long been one of Oregon’s most persuasive proponents and performers of contemporary music…and an uncommonly engaging reader (of poetry)…”
Read Brett Campbell’s full review of our concert “Gentle Numbers In Eternity”: ReviewGentleNumbersInEternityApril2016
“…[Umi Sajin is] one of the most fascinating concerts in the March Music Moderne festival…” – Willamette Week, March 2013
“Wednesday’s lineups [at the NACUSA Cascadia Composers 2010 three day festival, Portland, Oregon] included New Orleanian David Cortello’s charmer Three Movements for Flute, obviously inspired by Claude Debussy and played well by the excellent Portland flutist Tessa Brinckman…Thursday night’s concert kicked off with Brinckman skillfully conveying the nuances of a flute solo, Kristin Shafel’s haunting “Caoineadh.” – Brett Campbell Willamette Week 3/10/2010
“Polish-born choreographer Agnieszka Laska and New Zealand flutist Tessa Brinckman collaborative dance-theater efforts have been heralded throughout the west as irreverent, ambitious and mythological….walking the line between modern and classical…” – Rachael Carnes, Eugene Weekly, 10/26/2004
“[At] the concert…”Sonic Images”…presented by the Washington Composers Forum…flutist Tessa Brinckman gave a heartfelt, excellent performance of Gregory Yasinitsky’s “On Wings of Angels” [a] soaring tribute to his wife…” – Phillipa Kiraly, Seattle Post-Intelligencer 3/13/1995