‘I wholly recommend this disc not just for its well-argued and committed performances of these mysterious works, but also for the insights into the performer’s continuing dialogue between ‘authenticity’ and expression’ (Early Music Review)» More

‘What we have here is, unashamedly, music of a particular age, performed in one of the noblest of sacred spaces of England by one of its finest choirs. This disc could be no better introduction to the music of these three major composers for the Anglican Church and is a great addition to an already established CD collection … the performances here are excellent. The choir shows complete affinity with the music and there is skilful accompaniment from Peter Holder, who brings off the quasi-orchestral accompaniments with great aplomb. The highlight for me is For lo, I raise up—full of passion and a superb interpretation of the text from all concerned’ (Cathedral Music)» More

‘Readings alive to the easeful flow of Sonata No 1, the distilled songfulness of No 2, and, especially, the plaintive restlessness of No 3’ (BBC Music Magazine)

‘In another life Marc-André Hamelin might have made a great political agitator, or even an evangelist. He has an unbeatable ability to convey and inspire belief in the value of the music he is performing, especially when that music is in need of special advocacy … this is an eminently collectable disc, certainly, but not only, for existing Dohnányi aficionados’ (Gramophone)

‘The overall effect of the performances is as fine as one would expect from such distinguished artists’ (Cathedral Music)

‘There is so much that is fine about this recording, i.e. everything, that it is difficult to know where to begin … [Peter Phillips and The Tallis Scholars] present the best possible case for these two masses, supported by outstanding sound engineering in which every part is equally audible and perfectly balanced. Even after all this exhaustive advocacy I am still not sure that I have done this superlative disc adequate justice. Suffice to say, everything about it is the best’ (Early Music Review)» More

‘As one of the most important accounts of Josquin’s Masses in recent decades, Peter Phillips’s albums with The Tallis Scholars continue to sparkle and inform. Already in these pages I have admired the clarity of vision and consistency of sound that this ensemble bring to his works; but with this new album there is a particular sheen to the performance that places it among their recent best.’ (Gramophone)

‘The choir’s very first chord gives a foretaste of great things to come, for the singers somehow just melt into the music, with no sense of attack, but with sheer loveliness of tone and perfect balance of the voices. I do not often wax so lyrical!’ (Cathedral Music)

‘Hyperion have done a marvellous job of capturing the deep spirituality of this music in the acoustic of the former Carthusian monastery of Mauerbach near Vienna. The voices, including three ‘guest’ singers for the expanded textures of the final lesson on Holy Saturday, are exquisitely blended yet each line retains clarity, while the control of phrasing and finely nuanced dynamics are simply phenomenal … as close to perfection as you’ll ever experience on a single disc’ (The Europadisc Review)» More

‘Volume 79 in Hyperion's remarkable Romantic Piano Concerto series contains two works that were written well into the 20th century. Both works betray something of the ever-changing musical world into which they were born, with ‘an amalgam of late-romantic writing spiced with more modern harmonies’, as the booklet notes say, but though the spice of the harmony is of a darker hue in the Pfitzner, both works are tonally romantic concertos with all the necessary gestures, drama, pathos and devilry … both works richly deserve their place in Hyperion's series. Markus Becker brings both works to life with vital, virtuosic playing and Constantin Trinks and the Berlin Radio Symphony Orchestra capture all the depth and richness of orchestration that is such a large part of these two works’ (MusicWeb International)» More

‘Neither concerto on this enjoyable album departs from inherited concepts of concerto form, or from recognizably classical idioms; while both incorporate elements of jazz, disco, hip-hop and more, their style is distinctly post-minimal with homages to Stravinsky and others—including, as it happens, the composer’s grandfather, Sergei Prokofiev’ (BBC Music Magazine)

‘Enter Andrey Gugnin, of whose piano-playing it’s all but impossible to get enough … Gugnin moves between these vividly delineated miniatures so effortlessly that William Kapell’s 1945 recording of a few of them sounds almost prosaic by comparison … [Gugnin] evokes all the colours of Shostakovich’s mature orchestral palette in this stunning performance [of the Sonata No 2]. Following the desolation of the Largo middle movement, a vast lake of lonely bereavement, the extended finale develops an inexorable momentum and mass that is irresistible. This splendidly recorded disc also contains a superb First Sonata and a tiny excerpt from the ballet The Limpid Stream. I urge you not to miss it. We’re going to be hearing a great deal more from Andrey Gugnin’ (Gramophone)