‘If pressed to choose I’d opt for Becker and Trinks [over Barto and Thielemann], principally because of the way they balance the sum of the [Pfitzner] concerto’s substantial parts, and their generally superior recording … like most of Braunfels’s music that I’ve heard, it suggests a combination of profundity and play, being thematically pleasing, consistently inventive and very skilfully scored. There are times when the composer hints at progressive climes that Pfitzner doggedly resisted (Mahler is a distant presence), which makes Hyperion’s decision to place it alongside the concerto particularly valuable. An extremely fine release’ (Gramophone)

‘The Bass Drum Concerto, premiered in 2012, is for me one of the best concertos written this century. The bass drum’s diverse and versatile sonic capabilities—ranging from default deep tremolando rumbling heard in the opening movement to haunting whale-like cries at the end of the second—is imaginatively explored. However, this is no box-of-tricks concerto. The bass drum’s physical dimensions, timbre and resonance—in addition to its associations with electronic dance music—provide the orchestra with plenty of ‘raw’ material for development. The overall impression is of a tautly constructed and highly integrated work’ (Gramophone)

‘A richly satisfying, moving album … a very fine Schwanengesang indeed. The Vier ernste Gesänge are possibly even better: noble, refined, heartfelt, supremely moving and often beautiful in the extreme … highly recommended’ (Gramophone)

„Alina Ibragimova und Cédric Tiberghien beweisen einmal mehr, wie sehr ihr langjähriges Zusammenspiel fruchtet“ (Ö1, Austria)

‘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

„Da will man beim Zuhören nicht gestört werden!“ (SRF2, Switzerland)

‘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)