“It was instantly apparent that Miss Brown is a wonderful pianist indeed, with a sound of her own and a distinctive artistic personality to match. Her tone is exquisitely shaded and controlled. The single most extraordinary aspect of Miss Brown’s playing was an element of quiet rapture. In the Franck, the return of the chorale theme was transfixingly beautiful.”

The New York Times

“Last night’s Mostly Mozart Festival concert at Avery Fisher Hall was in good hands. Its highlight was the Mozart Concerto for Two Pianos in E-flat, K. 365. The work itself is a wonder, effervescent and inventive even for Mozart. And the performance was pretty wonderful too. Yefim Bronfman and Stephanie Brown are both young, talented pianists, and by this time they have played together often enough to have developed a real pianistic rapport. Their work together was enchanting.”

The New York Times

“A fair amount of the evening’s enjoyment (at Avery Fisher Hall) was supplied by Stephanie Brown, who performed Beethoven’s Second Piano Concerto. Miss Brown took a distinctly 18th-century view of the music, stressing textural clarity. All the stylistic requirements were satisfyingly met and her fluent finger work was technically flawless.”

The New York Times

“The concert was illuminated by the radiant playing of Stephanie Brown. The breadth, nobility and sparkle of her keyboard work are extraordinary, and her nuance of phrasing utterly natural.”

The New York Post

“Yesterday afternoon’s performances at Avery Fisher Hall were simply lovely. The keyboard soloists were Peter Serkin and Stephanie Brown. Both were delightful. The slow movement, with Miss Brown and Mr. Serkin trading off their graceful, elegantly ornamented lines, was a rare pleasure.”

The New York Times

“Brown’s performance of the Bach Piano Concerto No. 1 in D Minor, BMV 1052 was absolutely transporting. Brown played with a kind of fluidity of line that was both taut and flexible at different times, giving the music a wonderful sense of give and take. She brought the kind of urgency to the music that makes the listener breathlessly anxious to hear how she will treat the next phrase, almost physically pulling you forward in anticipation. With all due respect to the orchestra and conductor, it was Brown who supplied 70 percent of the electricity.” (Appearance with the Buffalo Philharmonic)

The Buffalo News

“Stephanie Brown is a pianist with big ideas and a technique to match.”

The Washington Post

“Certainly Schubert is in safe hands with Jaime Laredo and Stephanie Brown. Laredo and Brown give this music plenty of character … the G Minor Sonatina is powerfully but thoughtfully played.” (Review of Schubert Complete Works for Violin and Piano on Dorian)

Gramophone Magazine

“Providing a palette of colors that could never be achieved on the more monochromatic harpsichord, Brown took full advantage of the timbrel range that the piano has to offer. The ethereal cadenza in the first movement was given a range of dynamic levels and colorations that hung suspended in a velvet-like sonority. This, in addition to Brown’s precise execution of contrapuntal passages, perfectly balanced the orchestra.” (Performance of Bach’s Brandenburg Concerto No. 5 with the San Francisco Symphony)

The Daily Californian

“A pianist’s pianist … Brown’s style is elegantly understated and refined.” (Mozart Concerto K. 271 with the Northwest Chamber Orchestra)

The Seattle Post-Intelligencer

“The evening’s major work was Schubert’s ‘Trout’ Quintet, and in this Alexander Schneider’s colleagues were Stephanie Brown, piano; Michael Tree, viola; Timothy Eddy, cello, and Julius Levine, double bass. Schubert’s ever- delectable piece was given the kind of loving, warm-hearted treatment one has come to expect from the violinist and his associates. Miss Brown’s playing, in particular, was spirited, carefully adjusted to the string ensemble, and beautifully phrased.” (Appearance at the Mostly Mozart Festival, Lincoln Center)

The New York Times

“Brown gave a sensitive and elegant performance of Chopin’s Concerto No. 2 in F Minor, Opus 21. Ms. Brown’s playing exhibited impressive articulation heightened by a seemingly instinctual rubato. Her pianism has real style.” (Performance with the Cape Cod Symphony Orchestra)

The Cape Cod Times

“Brown displayed a distinctive voice, one marked by affecting sensitivity and a very musical flow of ideas in sound. Here were technical fireworks that were expressive and tuneful.” (Performance with the St. Paul Chamber Orchestra and Pinchas Zukerman)

St. Paul Pioneer Press