‘The main work here is the vast and astonishing G Major Quartet. Composed in 1826, it is close kin to the Quintet in C, D956, having the same expansiveness, the same three key-area first movement exposition, and speaking things utterly new to the language of chamber music—like the unearthly crescendos on long notes, and the Brucknerian tremolos played, seemingly, on a single hair of the bow. You sense, to paraphrase Stefan George's Rapture, that you really are feeling the air of a different planet. The Takács foursome make the whole piece interesting, similarly the early B flat quartet, with a welcome unanimity of gesture and attack. Excellent sound’ (The Absolute Sound, USA)

‘This is exceptional musicianship by any standards … Schubert’s G major is a mammoth work that simply has to be heard. If you don’t know it and fancy a new recording of the work, then the Takács as recorded last year rival the best. Thoroughly recommended’ (Gramophone)

‘Marc-André Hamelin powers through this tour de force [the Giga, bolero e variazione] in under four minutes—one of the miracles of the recorded repertoire’ (The Spectator)

‘There are surely no more charismatic young performers in this country today than violinist Nicola Benedetti, cellist Sheku Kanneh-Mason and pianist Benjamin Grosvenor, and together they make a stellar team, bursting with energy and expressive precision’ (BBC Music Magazine)

'Griegin sarja Hollbergin ajoilta on alun perin pianoteos, vaikka se tunnetaan paremmin säveltäjän versiona jousiorkesterille. Andrei Gugnin tunkeutuu norjalaiseen sielun- ja vuonomaisemaan virtuoosisesti virittyneenä ja romanttisesti latautuneena. Näytelmäkirjailija Ludwig Hollbergin vanhoja hyviä aikoja 1700-luvulla muisteleva sarja kuulostaa tässä aidosti pianistiselta ja nostalgiselta, paikoin sentimentaaliseltakin' (Rondo Classic, Finland)

‘Australia’s foremost pianist Piers Lane is a busy man … his extensive catalogue of albums for Hyperion is being expanded with the release of this magical collection of Russian variations on folk tunes from four composers … Rachmaninov’s Variations on a theme of Chopin need little introduction. In just under 30 minutes, he squeezes the pips out of Chopin’s C minor Prelude No 20. Lane’s performance here, as elsewhere on this superb disc, is exemplary’ (Limelight, Australia)» More

‘The [Takács Quartet's] defining qualities—fire, poetry, clarity, balance—never change. The principal work on their latest release is Schubert's String Quartet No 15—one of his most grandiose. It's spellbinding from the opening, when a tussle between major and minor keys gives way to a calm landscape pre-echoing passages in Bruckner symphonies. Schubert springs surprises, but the Takács players take everything in their stride’ (The Times)

‘The G6 boys—as they like to call themselves—are really making a name for themselves with these highly polished and inventive programmes, and this album is no exception … they have a knack of making you feel like you're the only one listening to their music … wonderful, intimate singing’ (The Early Music Show)

‘Gugnin ripples his way through the Holberg Suite in its original piano solo guise, radiating poise, affection and respect for its Golden Age retrospection … Gugnin lavishes immense sympathy and finesse on [the Ballade], keeping a close eye on the balance and emotional logic of the variations, and making a persuasive case that its absence from the concert hall is very much our loss … the Lyric Pieces, it might be thought, need no special advocacy, given the standards set over the years by the likes of Gilels, Andsnes, Hough and Kozhukhin. But advocacy can take many forms, and Gugnin’s is as special as anyone’s as he follows Grieg’s flights of fancy into nature, mood-pictures and dreamscapes with equal acuity’ (Gramophone)

‘The great strength of this recording is the transparency of its textures, which allows the parts to come through individually while preserving the monumentality that such a scoring obviously motivates—all the more remarkable given the size of the choir, which is large by modern standards in this repertoire (nearly 40-strong). That is due to canny direction and a bright acoustic, which together achieve a sound strongly reminiscent of Cupertinos. That will be recommendation enough to lovers of Iberian (or indeed Franco-Flemish) polyphony … the clarity and precision of these interpretations is very satisfying’ (Gramophone)

‘Cinquecento as one of the current premiere all-male vocal ensembles find much beauty and intricacy in Padovano’s ‘highly consonant’ style, reminding me that I once wrote: 'Their sound is reminiscent of The Hilliard Ensemble, particularly in the delightful interplay of their two well-matched tenors and the warmth of the overall blend captured through a close, warm recording technique'. This still holds today, as the ensemble’s skilful blend is a happy marriage to Padovano’s ars perfecta flow. They also handle transition moments well, as best heard in the opening Kyrie of Missa A la dolc’ ombra, which cadences on a shimmering top-heavy chord so that the Christe section feels inevitable … Cinquecento at their best’ (Gramophone)

‘The meatiest and finest work here—also the best played—is the Rachmaninov, which Lane executes with transparently more freedom and pure relish. There is much to admire here, from the judicious pacing and depth of tone to the way he plays the heartbreaking Var 16 (one of the composer’s loveliest inspirations) and the exultant conclusion. For once, we get the presto final-page ending, which is surely what the work deserves’ (Gramophone)