‘Observing Beethoven’s fast metronome marking in spirit if not in fact, Hamelin chooses a suitably propulsive pace for the first movement [of Op 106] that permits nuances of color and line to register meaningfully without compromising forward momentum … lucid booklet notes by the veteran Beethoven authority Barry Cooper add to the appeal of this well-recorded release. If you want only one Hammerklavier, this will do nicely’ (Classical Voice North America)

‘Unlike most chanson collections, this one is characterized throughout by a hushed and reverential tone as well as by The Gesualdo Six’s standard-setting blend and intonation. Another winner from this amazing ensemble’ (CD Hotlist, USA)

«Parution, en ce premier vendredi d’octobre, d’un disque très attendu … cette lecture au laser, qui possède une rigueur héritée de Bach, est donc admirable» (Le Devoir)

‘Refined nobility, compelling abandon, fluid articulation and unrestrained dynamics are all key factors that Hamelin brings to the music. It's as if he is so far above and beyond the technical pianistic requirements of the music that he can easily and freely reveal Beethoven's anima within the written score’ (Classical Music Sentinel)

‘Given Marc-André Hamelin's unimpeachable technical prowess, it is no surprise that he tackles the epic Hammerklavier Sonata for his first recording of music by Beethoven. Hamelin's tempos are rapid, though well under Beethoven's unreasonably fast metronome markings. This allows lyrical passages to breathe expressively, and for Hamelin to apply a variety of colouring to Beethoven's many surprising harmonic shifts … unsurprisingly, the wild fourth movement fugue of the Hammerklavier is dispatched with exciting technical security. More surprisingly, this does not conclude the album, but instead we jump back 23 years to continue with Beethoven's third published sonata, Op 2 No 3 in C Major. This early work benefits from Hamelin's crisp articulations and sparkling passagework’ (The Whole Note, Canada)

«On peut certainement parler d’excellence. On peut parler de clarté absolue dans le propos pianistique, dans la caractérisation des voix, des thèmes et de l’architecture complexe de ce monumental édifice musical. On peut parler d’une lecture remarquable à bien des égards» (PAN M 360, Canada)

‘The seven ‘Friedemann’ preludes sound especially effective as rendered on the clavichord by Esfahani, his intimate fluctuations of dynamic and tempo drawn out with beguiling freedom and sensitivity of characterisation—one ends heart-rendingly with the final note almost inaudible, like a gasp. The same strength of inspiration is evident in the similarly miniaturised Inventions, and they are no less skilfully rendered on the clavichord … Esfahani considers each of these little jewels on its own merits, and by the time we have journeyed through almost-fugues and the twisting chromaticism of the F minor, the 16-foot stop is out for the 15th and last Sinfonia, all unworthy thoughts of smallness now firmly banished’ (Gramophone)

‘The results, full of the most surprising insights, are thoroughly convincing … it remains only to say that the solo male voices of The Binchois Consort are at the top of their form and that the presentation (with booklet material by Fitch and Andrew Kirkman) meets Hyperion’s top standards’ (Gramophone)

‘This has to be the best-sounding Fourth on disc—a vivid sense of acoustic and scale but with thrilling immediacy, too … having recently delivered a comparative review of the Fifth on BBC Radio 3 I am confident in saying that Mäkelä’s account would certainly have made the shortlist … the Sixth is marvellous … presumably we are getting the other symphonies? If so—auspicious and sonically outstanding’ (Gramophone)

‘What could be better than one pianist but four, as found on the evocatively titled Unplayed Stories … in 40 Fingers … all first recordings of reconstructions by perennial favourite composers such as Mendelssohn, Schubert and Liszt, as well as their lesser-known contemporary, Bohemian Ignaz Moscheles. A particular highlight is Alexander Tamir’s arrangement of Schubert’s Grosse Fantasie 'Wanderer', with duo Lev and Glixman bringing fullness to its stately, rhythmically percussive theme in the opening Allegro … this intriguing album proves the musical power and possibilities of 40 digits’ (Winnipeg Free Press, Canada)

‘Following the opening Allegro [of Op 106], in which Hamelin first introduces the opening theme with bursting energy, he then tosses off the Scherzo with crisp rhythmic precision. By contrast, his deeply felt rendition of the Adagio takes listeners into deeper, darker sonic climes, with the pianist’s elegiac rendering well-paced throughout. The finale becomes another showcase for his renowned virtuosity, as he brings to life its contrapuntal lines with fearless conviction’ (Winnipeg Free Press, Canada)

‘Obrecht has the right team for the job … a very convincing view’ (The Early Music Show)