‘The real highlight of this disc is Johannes Lupi’s (c1506-1539) Marian motet Salve celeberrima virgo: a rich, velvety texture thrillingly permeated with the spirit of Gombert, and sporting a cadence at ‘et quam decora’ that is near-identical to the first part of Lugebat David Absalon. Lupi again catches the ear with his motet Quam pulchra es via an extraordinary cadenza-like passage on the final Amen. As ever with Stephen Rice’s programmes, this album contains many enjoyable discoveries presented with a clean, bright sound that’s unrelentingly attractive and impressive’ (Gramophone)

‘Fretwork takes everything in its expertly burnished stride … this is an utterly civilised and civilising release’ (BBC Music Magazine)

‘The performances here blaze with conviction. Kleiter’s tone is wonderfully even and exceptionally beautiful over a wide vocal range, and her commitment is never for a second in doubt. Mignon’s anguish is vividly realised as Liszt tellingly blurs the distinctions between the lover, protector and father to whom the song is addressed and Drake whips up a veritable storm at the mention of ‘der Drachen alte Brut’ that tips the music towards nightmare. Kleiter unleashes a glorious flood of sound at the climactic invocation of ‘Musik, du Mächtige’ in ‘Die Macht der Musik’, but she’s also capable of ravishing pianissimos in the exquisite ‘Kling leise, mein Lied’ and at the close of ‘Oh! quand je dors’, where the final phrase drifts wistfully upwards to its final silence. Drake is similarly at his best here, providing darkness as well as wit in ‘Enfant, si j’étais roi’ and a real display of virtuosity, drama and colour as the boat sinks in ‘Die Loreley’. A marvellous disc and a great recital in its own right, this is arguably the finest instalment of the series to date. Do listen to it’ (Gramophone)

‘Well worth hearing in these fine performances. And the Leonore Trio are the people to do it, having already recorded out-of-the-way repertoire for Hyperion, as, for example, the Pixis Piano Trios. David Barker, in a review of the Pixis trios which also included two of his piano concertos (CDA67915), wrote that there was every reason to be grateful that what he assumed would be their only ever recordings were so good. That could be just as appropriate a summation of the new Litollf; we shall probably not see their like again, but both the performances and the recording quality make a strong case for having them in the catalogue. As with the Pixis trios, the acoustic of All Saints, Hampstead, adds to the success of the recording’ (MusicWeb International)» More

‘While each member of the Leonore Trio (Benjamin Nabarro, violin; Gemma Rosefield, cello; Tim Horton, piano) brings a strong individual profile to their respective parts, the group’s marvelously dovetailed interplay and crackling ensemble precision leave me breathless. Collectors drawn to the chamber repertoire’s neglected corners should snap up this thoroughly enchanting, smartly annotated, and wonderfully engineered release’ (Classics Today)» More

‘Tawnie Olson's Magnificat immediately grabs attention with its pungent evocations of Bulgarian women's choirs, conveyed convincingly by Elm City Girls' Choir, which then combine and interleave with the Yale voices to reimagine medieval organum for the 21st century … David Hill's affecting God be in my head and Daniel Kellogg's high-spirited Shout joy! make an effective contrasting pair at the heart of this rewarding disc’ (BBC Music Magazine)» More

‘Steven Osborne’s assured mastery in a wide range of repertoire continues to expand and amaze … Osborne is at his best in Sonata No 8 … no pianist in my experience has matched Osborne’s finale for acuity of touch, pinpoint transparency and airborne suppleness. The music dances off the page, tickles the ear, engages the mind and, for once, sounds far shorter than its nine-minute duration. In addition to Hyperion’s sound at its finest, Christina Guillaumier’s booklet notes provide valuable historic and analytical contexts for all three works’ (Gramophone)

‘The zoological fantasy may be the draw, but the symphonies steal the show. There are few if any signs that the classically-proportioned Symphony in A major is the work of a 15-year old … admirably engaging in this lithe performance … much the same might be said for the composer's official First Symphony, written three years later and for a larger range of orchestral colour … a welcome disc for the wonderful performances of the symphonies’ (BBC Music Magazine)» More

„Weder Schostakowitschs Klaviersonaten noch seine 24 Préludes gehören zum pianistischen Standardrepertoire, und deshalb erwartet man auch gar nichts Besonderes. Aber dann holt Gugnin, der mit den Gaben eines Vollblutvirtuosen gesegnet ist, aus diesen Werken so viel großartige Musik heraus, dass man sich fragt, wo denn all die anderen Pianisten ihre Ohren haben“ (Piano News, Germany)

‘My instant reaction on pushing 'play' and hearing the first bars was 'Ah—this is is going to be good'. And so it proves, perhaps the most consistently enjoyable and satisfying recording of Tchaikovsky piano solos of recent years … a very fine issue indeed’ (Gramophone)

‘If Chandler’s programming of oddities and fragments sometimes looks like a musicological download, the sound his orchestra makes soon makes you forget that. Bright, clear, open and gloriously brassy, with expansive but controlled wind-playing, rat-a-tat drumming and boldly projected string sound led by Chandler’s wheeling and diving solo violin—all is light and energy. In places it is nothing short of magnificent. Listen to the Fasch finale and see if you can keep still!’ (Gramophone)

‘Maltman's baritone is impressive and authoritative, and he's a sensitive, natural communicator who brings a directness to the songs' many emotions … the sincerity and integrity of his performances are compelling … an affecting, intelligent recital that's well worth seeking out’ (Gramophone)