‘The Philharmonia produces a leaner, more transparent sound, captured ‘live’ with almost tactile precision and accuracy … the music’s distinct Russianness is experienced at a much deeper level this time around’ (BBC Music Magazine)

‘Steven Osborne has already shown his feeling for Rachmaninov’s music in recordings of the Preludes and the Second Sonata, so it is no surprise to hear him give such idiomatic accounts of the Études-tableaux. The sheer polish of his technique is remarkable, approaching the patrician nonchalance of Rachmaninov himself—indeed, appearing at times to exceed him’ (BBC Music Magazine)

‘The BBC Symphony Chorus, prepared by its new director Neil Ferris, maintains its top-notch standard, singing with full tone, a wide range of dynamics, crisp attacks, and in general matching Walt Whitman's all-embracing poetry … credit is due also to Martyn Brabbins, in expert control of the work's internal balance and its dramatic pacing, and to the production team in Blackheath Concert Halls’ (BBC Music Magazine)

‘Altogether, this is a welcome introduction to a composer of impressive achievement and considerable promise. Layton and his crack team of singers have done their colleague and friend proud’ (BBC Music Magazine)» More

‘This performance glories in the pungent qualities of Brahms's orchestration and there is no denying the infectiousness they capture in the faster movements in particular’ (BBC Music Magazine)

‘It’s hard to imagine [the Bronsart] being better played than by these forces, Emmanuel Despax displaying a wide range of colours combined with an easy virtuosity … [the finale] requires prodigious playing from soloist and orchestral musicians to make it sound as effortless as here, and that it does is tribute as much to conductor Eugene Tzigane as to Despax’ (Gramophone)

‘The overall impression is that Bronsart was a composer with an eye for drama tempered by poeticism whose ink left the pen onto paper with active assurance, charismatically suggested by this lively, full-on and considered performance from Emmanuel Despax, attentively supported … there are no complaints regarding performances, production and annotation’ (Classical Source)» More

‘In both the Chopin G minor sonata and in the C major Introduction et polonaise brillante, he’s a very mellow fellow, playing with a great big smile on his chops, as if he’s tweeting a particularly happy dream. The ease of engagement is infectious. There’s a lovely romantic nocturne by the obscure 'Franchomme' and an irresistible reading of Schubert’s sonata. If the Chopin lacks Polish melancholy, I don’t miss it a bit. These are two fine musicians at the peak of their powers playing for pleasure, theirs and ours, all stress banished for an hour’ (Ludwig Van, Canada)

‘Even among Isserlis’s many fine discs, this one stands out. And if you still need convincing that the Chopin Cello Sonata is a total masterpiece, this is the recording to do it’ (Gramophone)

‘This, incredibly, is the 100th CD of Liszt’s music for solo piano recorded by the indefatigable Leslie Howard for Hyperion … a superbly played (and researched) addition to this extraordinary artist’s legacy’ (Gramophone)

‘As this recital progresses one is struck yet again with the sheer consistency of Machaut’s art. Despite recognisable phrases recurring from work to work, each piece has something to say. The Orlandos hit their stride in this series some time ago, and collectively they gel wonderfully’ (Gramophone)

‘Celestial bird sets a mystical poem by Carmelite nun Jessica Powers with sumptuous harmonies that soar and sting, aptly showcasing Ex Cathedra's magnificent purity of sound … Child of Heaven … is elegantly shaped and full of warmth, rather like this disc as a whole’ (BBC Music Magazine)