‘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)

‘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)

‘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)

‘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)

‘Only in her late 20s, Russian-born Aigul Akhmetshina has caused a considerable stir of late after what can only be described as a meteoric rise … now, following a much-publicised signing to Decca, we have her debut album, and a fine achievement it is … she has a superb voice, no question, warm and even in tone, admirably agile, with a full, effortless top, and a tangy lower register. Texts, meanwhile, are insightfully projected without nudging or fracturing lines, which makes for a notably impressive performance of Carmen’s Card Scene, in which subtle dynamic shading gradually exposes dark forebodings as the long chromatic phrases unwind with an almost unnerving inexorability … it all adds up to a fine recital, and a most auspicious debut’ (Gramophone)

‘Here’s an abundant harvest, one so rich in its offerings that it’s hard to know where to start. One could, perhaps, begin with Hamelin’s brilliant intricacy—what might be seen as his attempt to out-Godowsky Godowsky … and yet: despite the virtuoso dazzle, despite the historical sweep, and especially despite his sense of humor, Hamelin is far from a barn-burner, far from an intellectual show-off, and far from a mere comedian. This is music of tremendous structural skill, showing, in particular, an ability to revitalize traditional forms … it’s also music shot through with striking emotional depth … the playing, as expected, is spectacular … all in all, a clear candidate for this year’s Want List’ (Fanfare, USA)

‘This is a gorgeous recording of music from the Spanish Siglo de Oro, and it is beautifully performed by this young Spanish choral ensemble’ (American Record Guide)

„Schon die ersten Töne des Kyrie der Missa „A la dolc' ombra“ lassen aufhorchen: Vom Bass wohlgrundiert, begeistert ein aufgefächerter Klang, der die Verläufe jeder Stimme zwar offen legt, letztlich aber doch von einem wunderbar vollen Ensembleklang geprägt ist. Dass hierzu fünf Männer stimmen ausreichen, erstaunt nach wie vor … Die gute Durchhörbarkeit erlaubt auch bei den insgesamt eher ruhig dahinfließenden Sätzen erstaunliche Spannungsbögen, die jegliche Eintönigkeit verhindert. Und wann hört man schon einmal auch im Timbre so wundervoll aufeinander abgestimmte Stimmen?“ (Fono Forum, Germany)» More

‘All in all this is a treasure trove of works, some little known and rarely performed, in a wide variety of styles and vocal scorings spanning the first half of the 16th century. Beautifully sung and meticulously researched, it will generously repay repeated hearings’ (Gramophone)

‘Throughout, The Gesualdo Six offer up introspective and expressive readings—literally deep in the case of Brumel’s prayerful Sub tuum praesidium scored for sonorous low voices, and the same composer’s Du tout plongiet / Fors seulement whose bass line fathoms the abyss … it is impossible to find flaw with the ensemble’s matchless singing’ (BBC Music Magazine)