[1] In 1976 she won a Boise Scholarship[2] and a Countess of Munster Award, which she used to go to Salzburg in Austria (1976–7), where she worked on violin with the chamber music specialist Sándor Végh and on Baroque performance practice with Nikolaus Harnoncourt.
[5] She gave solo concerto performances with the Academy of Ancient Music and the OAE, mainly at the Queen Elizabeth Hall in London, and also on tour in Canada and the United States.
5) with Catherine Mackintosh at the Jane Mallett Theatre, Toronto (1986),[9] and "Autumn" from Vivaldi's Four Seasons at the Orchestra Hall, Chicago and the Performing Arts Center Playhouse, Tampa, Florida (1987).
[19] As the co-leader of the OAE, she directed extracts from Handel's Saul and Solomon oratorios with the countertenor Andreas Scholl, on a UK tour in 2000,[20][21][22] as well as operatic and orchestral works by Vivaldi, Riccardo Broschi, Gluck and C. P. E. Bach with the soprano Cecilia Bartoli at the Carnegie Hall, New York, in 2002.
[24] Lucy Robinson, in her Grove Music Online entry, highlights Bury's "beautiful open sound and sensitive phrasing" and writes that she is "highly respected" for her chamber work.
[1] Nicholas Kenyon, in a Times review of a solo performance of Vivaldi in 1982, criticises some technical aspects of her delivery but writes that Bury gives "each phrase a highly original twist, as if its rhetoric, purpose and direction had been rethought".
[25] Robert Everett-Green, in a review for The Globe and Mail, describes her performance of a Vivaldi concerto in 2002 as "clean yet humdrum" and suggests that Bury might be a "better leader than soloist".
[21] Bury is considered to fall within the second generation of violinists performing in a historically informed manner, becoming active in the 1970s and 1980s, with Pavlo Beznosiuk, Micaela Comberti, John Holloway, Monica Huggett, Catherine Mackintosh, Ingrid Seifert, Simon Standage, Elizabeth Wallfisch and others.
[27] Nicholas Anderson, in a Gramophone review of the Taverner Players' recording of the Four Seasons, praises Bury's ornamentation in the slow movement of the "Summer" concerto.