‘This is an excellent disc, with The Binchois Consort in brilliant voice throughout. They are unfailingly well-balanced and controlled—the warm polyphony is expertly and clearly enunciated, whilst the tempos bring out the best from the music. The recorded sound is excellent, while the booklet notes, only in English, are informative and valuable. Full Latin texts and English translations also included’ (MusicWeb International)» More

‘Gugnin’s Russian pedigree and clear affinity with Shostakovich’s music is potently in evidence throughout this well-filled disc … this is one of the finest piano discs to come my way this year, and Andrey Gugnin is a name I shall certainly be looking out for in future’ (MusicWeb International)» More

'Ditmaal brengt sopraan Harriet Burns Sechs Gesänge Opus 7, van toen de componist amper twintig jaar oud was. De andere geselecteerde werken bieden een reis door de rest van ’s mans carrière. Topwerk op deze schijf is een selectie uit de volksliederen met pianobegeleiding Wo033, gepubliceerd in 1894. Brahms was een van de eersten die volksmuziek naar waarde schatte. Hij beschouwde de 49 liederen als toppunt van zijn kunnen' (Kerk & Leven, Belgium)

‘But there is nevertheless a hidden gem concealed in these settings, in the shape of the central slow movement Fairy Noon where Stanford reduces his treatment of the words to a slow choral background over which woodwind solos unfold in an atmosphere that positively reeks of Delius at his idyllic summer best. At times I was reminded of the noon-tide rhapsody in A Mass of Life, and although the final movement Fairy Night with its lullaby and scherzo-like interludes has charm this central impression is something quite special … this piece does not deserve its long neglect … the performances are generally excellent … the balance the engineers have obtained in the Ulster Hall is clean and precise’ (MusicWeb International)

‘Markus Becker plays [the Pfitzner] superbly and confidently throughout even in the most heavily scored passages, and the orchestra under Constantin Trinks are responsive and idiomatic … again Becker is a tower of strength, and Trinks is responsive; the timpani in the finale of the Braunfels have a real sense of fun. The recording is excellent … another feather in the cap of Hyperion’s ongoing and illuminating series of romantic piano concertos’ (MusicWeb International)» More

‘Here’s a new Chopin recital from pianist Pavel Kolesnikov, and after his first volume of Chopin a couple of years ago I’d buy this new one just for a chance to hear more of Kolesnikov’s exquisite way with Chopin … a delicious sequence of confections, one of the most enjoyable Chopin recitals I’ve heard in a while’ (BBC Record Review)

‘Anyone who thinks that Shostakovich’s Op 34 Preludes are insubstantial miniatures needs to hear this next new recording. It’s from a young Russian pianist, Andrey Gugnin, and he impresses immediately with the range of colours, dynamics and temperatures he’s able to conjure so quickly which brings every one of these character studies brilliantly to life … stunningly precise fingerwork … but so much more than that as well … it’s totally compelling’ (BBC Record Review)

‘Neither concerto on this enjoyable album departs from inherited concepts of concerto form, or from recognizably classical idioms; while both incorporate elements of jazz, disco, hip-hop and more, their style is distinctly post-minimal with homages to Stravinsky and others—including, as it happens, the composer’s grandfather, Sergei Prokofiev’ (BBC Music Magazine)

„Alles in allem offenbart die Programmauswahl die Stärken ihres durch und durch lyrischen Soprans, der wunderbar aufblühen kann wie in den beseelten „Sechs Gesängen“ op. 7, in denen auch Gedichte von Eichendorff und Uhland vertont wurden. Sie sind deutsche Romantik pur, und Harriet Burns offenbart einen tiefen Sinn und eine Begabung für derlei Repertoire“ (Opera Lounge, Germany)

‘Here we have a real partnership: they phrase and seem to breathe together. They can also show great restraint … Brahms may require a good deal of weight, particularly in the piano parts, but he benefits from an approach which does not aim to squeeze out all the sentiment but uses suggestion and nuance. In the G major work, they offer gentle playing with a lift to the rhythm in the first movement and an excellent build up to the climax of the development. They keep the slow movement moving and the mysterious passage towards the end is particularly finely realized. The finale is tender and fragile with no sense of rush … there are, of course, many other recordings of the Brahms violin sonatas, including such classics as Suk with Katchen and Perlman with Ashkenazy. This is a worthy successor and will give much pleasure’ (MusicWeb International)» More

‘Readings alive to the easeful flow of Sonata No 1, the distilled songfulness of No 2, and, especially, the plaintive restlessness of No 3’ (BBC Music Magazine)

‘Everything is met with unfaltering assurance, vividness and command … Emil Gilels, whose magisterial recording of the Second Sonata is formidably authoritative, would surely have been among the first to praise Gugnin’s performance’ (International Piano)» More