‘Cultivated performances, graced with discernment along every axis: colour, dynamics, rubato, articulation. It will surely appeal to those looking for an even-tempered, unexaggerated middle ground between the forthright big-boned approach found, say, in Emil Gilels’s 1954 Paris K570 and the edgy HIP playing of Robert Levin … the engineers have captured the elegance of [Hewitt's] tone to perfection’ (Gramophone)

‘If Steven Osborne, who is now 54, never recorded another note, his large and varied discography would be the envy of many a pianist. His latest release returns to Schubert, mining a vein that has already yielded riches … here [the last movement of D959], as in the first movement, voicing is exquisite, with the overall sonic terrain sculpted and proportionate. When the presto coda appears like a bolt from the blue, its neat summation leaves one wishing for even more of this spacious rondo. The Moments musicaux speak with a morning freshness throughout, each imbued with its own unmistakably individual identity’ (Gramophone)

‘Not only does Osborne find [for the Andantino of D959] what feels like a perfect timeless tempo, but when the movement explodes into uncontrolled fury in the middle the sense of visceral shock is almost overwhelming. This is special … Osborne captures not just the power of that pivotal middle movement but the trajectory of the whole Sonata, and the set of Schubert miniatures—six of his Moments musicaux—that comes after the Sonata are perfectly gauged. This is a performance of D959 that was still resonating in my mind long after I’d finished listening: it’s that good. Superb Schubert from Steven Osborne, a new release from Hyperion—it’s my Record of the Week’ (BBC Record Review)

‘Gidon Kremer has made a virtue of bringing lesser-known composers to the international stage, the Czech Victor Kalabis (1923 - 2006) being an excellent case in point … Kalabis’s indubitable compositional skill and fine command of structure demonstrate his worth, qualities that are highlighted in these perceptive performances’ (The Strad)» More

„Dieser Chor mag etwas weniger bekannt sein, vor allem ausserhalb des Vereinigten Königreichs, als die Chöre aus Cambridge und Westminster, aber er ist qualitativ diesen keineswegs unterlegen … Palestrina wird hier in seinen historischen Kontext gestellt, indem es auch Motetten von Kollegen, Schülern und Enkelschülern gibt. Darunter sind mehrere, die heutzutage kaum bekannt sind. Das macht diese Produktion umso wertvoller … sie ist ein wichtiger und erfreulicher Beitrag zum Palestrina-Gedenkjahr“ (Critica Musica, Germany)» More

‘Osborne’s performance conveys an impressive sense of both the expansive scale of the four-movement work and its lyrical ebullience. He gives the opening gesture (which will return in the final moments to devastating effect) all the grandeur it needs, perfectly balanced against the delicacy of the figuration that follows, and as the performance unfolds, every detail is just as perfectly calibrated … his performance is one to set alongside the finest on record’ (The Guardian)

‘One of those rare occasions when composer, score, soloist, conductor and orchestra all combine in perfect synchronicity, when ‘everything comes together’ if you will … your hardened reviewer is not ashamed to admit that, once again, it moved him to tears. So if you are wondering if you need another Rachmaninov Third in your collection and on an album that lasts just 42'23", the answer is a resounding ‘yes’’ (Gramophone)

‘The textural sparseness of Weir’s setting is itself expressively emotive and beautifully rendered by the Yale Schola Cantorum under David Hill, who directed the premiere at the 2017 Proms. Hill’s shaping of the work is never more acute than in the lyrical second span, ‘Lament’, while he brings out the drama of the opening Prologue and the work’s denouement (sections 5‑6, ‘The Whirlwind’ and ‘God Speaks’) with consummate skill … Hyperion’s first-rate sound captures the ambience of Yale University’s Woolsey Hall perfectly, as well as every line and nuance of both scores’ (Gramophone)

‘An entertaining and enlightening recital, planned with insight and executed with aplomb’ (Gramophone)

‘After an excellent album with Kalabis’s Concerto for harpsichord and string orchestra, which was written for Růžičková and recorded by her student Mahan Esfahani [on Hyperion CDA68397], Hyperion brings out a small Kalabis treasure trove. It is a welcome addition to the modest discography of this composer. Kalabis is lucky to be championed by Gidon Kremer and his Kremerata Baltica. The album opens with four Duettina from 1987, in which the violinist is joined by the brilliant young Latvian cellist Magdalena Ceple. Under their fingers these duos sound like a happy homage to both Bartók and Enescu’ (Gramophone)

‘[Hewitt] is nimble and witty [in K265], characterising each variation clearly but never striving for effect, and adding runs and decorations that are in the spirit of the birth of this piece as a competitive improvisation … there is introspection aplenty in the Adagio K540 and Rondo K511 that finish this lovely cycle: the Rondo dates from the time of the death of Mozart’s father, and is freighted with emotion that Hewitt recognises but doesn’t milk. This album, as with the other two, is highly enjoyable and recommended’ (TheArtsDesk.com)» More

‘Weir’s setting of In the Land of Uz has a lot of variety, both in its use of solo voices emerging from the choral texture, but also the instrumental accompaniment of five solo instruments and organ (violist Gretchen Frazier is outstanding) … the concluding movement … is Judith Weir at her best, and the Yale Schola Cantorum in fine voice … the choir get their teeth into some meaty passages [in the Beach] and it all sounds a lot of fun to sing, a distinctive American accent detectable in the music as well as in the performance. As with the Weir, which it sits alongside fascinatingly, the final movement is where it all comes together, dissolving from a big choral climax into the humblest of thanksgivings’ (TheArtsDesk.com)