‘Howard Shelley and Felix Mendelssohn are a fine musical match, as we've found out … in Shelley's complete survey of the sometimes mysteriously neglected solo piano music. Volume five just arrived: some gossamer textures, delicate finger work and, at the end of the album, some favourite Songs without Words’ (BBC Record Review)

‘Tomer Lev has alighted on a two-piano Larghetto and the exposition of an Allegro, known in a completion by Mozart’s friend and musical executor Maximilian Stadler but here augmented into a work for pianos and orchestra … such musical archaeology is nevertheless valuable in turning up such rough diamonds and presenting them in a persuasive fashion. Mozart barely wrote a bad note in his life, so there is plenty of treasure to be mined from works at such an early stage of contemplation that they don’t even make it into the Köchel catalogue … the Russian-Israeli MultiPianists barely put a foot wrong’ (Gramophone)

‘This latest release from The Binchois Consort represents early ‘musicking’ at its finest. The programme is built around music from the Carver Choirbook, thought to be associated with the seat of the Royal Chapel in Stirling and an important source of pre-Reformation music in Scotland. There is, however, another layer: this is a historically informed performance within a historic performance space—Linlithgow Palace—itself recreated in virtual reality. Musicology and music production triangulate James IV’s visits to Linlithgow Palace with the veneration of St Katherine and the Carver Choirbook in this very clever project … the sound is kept bright and perky by the silvery historic pronunciation. There is some really super singing here … the real showstopper on this programme is an anonymous Magnificat, whose verses alternate between joyfully rhythmic polyphony and a rich four-voice chant in the ‘fourth kind of faburdoun’. The immersive experience of this track in particular will stay with me for a long time’ (Gramophone)

‘Alina Ibragimova showcasing her stellar technique, her mastery of all the skills, but, better than that, her ability to let the music sing so clearly even as the fireworks explode around it. Ibragimova doesn't treat Paganini's Caprices purely as heroic showstoppers, and, as the rosin's flying, she finds time to highlight harmonic shifts and spin phrases with delicacy and lightness, and wit as well. Special playing, and the recording frames it so well—all the detail, plenty of air and attractive resonance’ (BBC Record Review)» More

‘The crowning glory of this album is Debussy’s Six épigraphes antiques, with which Lewis and Osborne make magic. They create a mysterious and calmly numinous atmosphere for the first two pieces, and convey the tonal ambiguities with what feel like casual flicks of the wrist. The fact that it’s four wrists in perfect accord is typical of this brilliant pianistic team: listening blind, one could imagine it’s a single pair of omnipotent hands’ (International Piano)» More

‘Ibragimova arrives at Paganini’s Caprices via Bach’s Sonatas and Partitas and Ysaÿe’s Sonatas and finds them flamboyant, challenging, innovative, artistic and with an abstract majesty that eludes easy classification … until you’ve heard Ibragimova’s compelling, insightful accounts of these endlessly fascinating pieces by an endlessly fascinating composer, you don’t know what you’re missing out on’ (Limelight, Australia)» More

‘As with all of the performances here there is a palpable sense of enjoyment from all of the players. The English Chamber Orchestra is well seasoned in this repertoire, and accompanies with positive character and sublime phrasing, and the recorded balance is not too heavily in favour of the pianos above the orchestra … this release from Hyperion can stand comparison with any alternative, and is therefore a highly desirable prospect indeed’ (MusicWeb International)» More

‘The sturdiest technique, a will of iron, the most flexible wrists, a big leap of courage: such are some of the requirements, easily fulfilled on this exciting album by the adventurous violinist Alina Ibragimova … her muscular, thoughtful approach keeps you listening, mostly with awe and wonder. Paganini intended his pieces as exercises in bowing techniques, difficult fingerings and such. Ibragimova reminds us that they are also vehicles for powerful emotions, daringly expressed and in spirit eternally modern’ (The Times)

‘Driver has a wide repertoire, which goes back to Bach and Handel as well as including the standard piano works and a good deal of contemporary music and others off the beaten track. I think his wide experience of music has helped him bring light and shade to these demanding études and bring out their qualities as compositions. Incidentally, he writes his own, very helpful, sleevenote, from which I have borrowed. The recording is luminous … if you have the quite reasonable wish to have the complete set on one disc, this will do very nicely’ (MusicWeb International)» More

‘This excellent disc is another fine addition to the discography of the Choir of Trinity College, Cambridge. The choral pieces were recorded over a period of three years during which there were inevitable changes in personnel, yet the standard is consistent—and excellent. As ever, the freshness and discipline of this group of young singers is exemplary, showing just how thoroughly they are trained by Stephen Layton. Both in St George’s Chapel, Windsor and in the chapel of Trinity College, engineer David Hinitt and producer Adrian Peacock have recorded these performances expertly for Hyperion. Paul Conway’s notes are ideally informative’ (MusicWeb International)» More

‘It is illuminating to compare Danny Driver’s excellent version with the touchstone recording by the composer’s early champion Pierre-Laurent Aimard … Driver brings this music in from the cold to the pianistic mainstream … [his] expressive approach will have broad appeal, and he certainly takes Ligeti’s technical hurdles in his stride’ (Limelight, Australia)» More

‘With this CD the discerning collector is once again in debt to Hyperion’s stimulating catalogue of contemporary choral repertoire, one enhanced by performances and recordings of the highest quality … this is an altogether admirable release and is very well worth investigating’ (British Music Society Journal)» More