‘A very handsome memorial, with the refined, honeyed choir and atmospheric chapel acoustic in fine fettle, and a pleasing commissioned carol by Judith Weir, O mercy divine, accompanied solely by Guy Johnston’s fast-moving cello’ (The Times)

„Verehrer von Brahms‘ Kammermusik haben kaum etwas Schöneres gehört als die Violinsonaten mit der russisch stämmigen Geigerin Alina Ibragimova und dem französischen Pianisten Cédric Tiberghien“ (Oberösterreichisches Volksblatt, Austria)

„Es ist das pure Vergnügen, diesem symbiotischen Duo zuzuhören, wie die Geigerin und der Pianist auf einem Atem Brahms spielen“ (Der Tagesspiegel, Germany)

‘Venturing outside the British sound world, the Yale Schola Cantorum, under David Hill, give a refreshingly clean and athletic American account of Schütz’s 17th-century Christmas Story and assorted motets’ (The Times)

‘But for my disc of the year, I return to the mystical world of late Beethoven, and to Steven Osborne’s unassuming yet revelatory Hyperion disc of the last three sonatas. While the market becomes more saturated with sets of this immortal triumvirate by the month, the omnipresent danger of a dilution of the humanity and solace projected by these masterpieces is undeniable. Osborne prevails by yielding utterly to the music with flawless technique and total humility. He is assisted by a Hyperion recording which is so natural and clean it eclipses even the most outstanding piano discs that have previously emerged from that fine label. This disc has moved me far comprehensively than I anticipated when I compiled the original review. In a crowded field, trust me: this is the real thing. It absolutely encapsulates the motivation for writing these reviews. One is alive; and one recognises that being able to listen to this singular disc, on a weekly basis if I so choose, is a sacred and unalloyed privilege, never to be taken for granted’ (MusicWeb International)

‘Both moving and thoughtful (emotional and intellectual logics being inseparable in such music), Osborne’s readings of these three sonatas are amongst the very best recorded versions. The 'mysteries' of this music are articulated with audible sincerity and a beautiful touch. Fortunately, the recorded sound is top class too’ (MusicWeb International)

‘[Tiberghien's] partnership with Ibragimova is a real one and they seem to feel and breathe the music together. I liked the restraint of their performance: instead of milking the juicy harmonies for all they are worth, they are the more powerful for using suggestion and nuance. The performance of the D minor work, in my view the finest of the three, is particularly impressive, and there is no lack of power and strength in the passionate finale. As an encore there is a salon piece by Clara Schumann’ (MusicWeb International)

‘Just one example of Kolesnikov’s ability at dramatization, the Mazurka in C minor, Op 30/1. An opening theme of inconsequentiality, a central section more resolute before Kolesnikov’s repetition of its dotted-quaver/semiquaver motif casts a spell. The return of the opening now briefly illuminates with unexpected beauty before it becomes waggish’ (MusicWeb International)

‘Late Liszt is a different world from that of the well-known virtuoso works. The subjects are sometimes religious, sometimes macabre, and they explore strange harmonic regions with an undertone of mystery and terror. Tiberghien is an expert guide to this territory and he moulds and shapes the sometimes forbiddingly bare writing as well as rising to massive climaxes when required. The recording is superb’ (MusicWeb International)

‘What Cinquecento gives us is the best of worlds, giving Palestrina’s melodic lines and harmonies great clarity, not adding complexity but communicating the words and music with an elegance of phrasing and a feel for the dynamic flow of the music that is entirely natural … this is the kind of recording that provides a total-immersion listening experience … allow it to enter your spiritual being and you will emerge on the other side renewed and with life’s little problems firmly put in perspective’ (MusicWeb International)» More

‘One of the finest piano discs I’ve heard for many a year, and so a shoe-in for this list [Recordings of the Year, 2019]. Andrey Gugnin’s remarkable pianism and musicianship is served by an equally breathtaking recording’ (MusicWeb International)

‘Even in a year packed with fine solo piano releases—just too many to mention—one really stands out. It features the multi-award-winning millennial Andrey Gugnin in masterly performances of the Shostakovich piano sonatas and 24 Preludes. The recording is well up to the high standards of the house’ (MusicWeb International)