‘David Fallows called them a ‘dream team’, Fabrice Fitch described their fourth Machaut album in this series as ‘one bullseye after another’ and it will come as little surprise that now I’m about to lace them with more compliments. I love a big recording project planned with superb scholarship, lively programming and consistent performances, and this Machaut series on Hyperion has it all’ (Gramophone)

‘Christopher Warren-Green secures crisp rhythms and vivid detail from the Philharmonia in lifelike sound. In choosing the Mozart as companion piece, van de Wiel faces the stiffest recording competition. But he also has an angle: treating this last of Mozart's concertos less with the nostalgic languor of a composer already foreseeing the end than with the straight-toned vigour of a still-young creator who thinks life is going to go on. It is a valid approach’ (BBC Music Magazine)

‘Everything is met with unfaltering assurance, vividness and command … Emil Gilels, whose magisterial recording of the Second Sonata is formidably authoritative, would surely have been among the first to praise Gugnin’s performance’ (International Piano)» More

‘Suffice to say, these splendidly prepared and finely engineered performances under Howard Shelley’s clear-headed direction do full justice to some appealing, off-the-beaten-track repertoire, and the disc as a whole is well worth seeking out’ (Gramophone)

‘The variety of moods in these miscellanea, lovingly performed by the Ulster Orchestra and Howard Shelley in congenial sound, is one of its most attractive features … and the most winning work? Definitely Fairy Day, with fey, dated poetry transformed into fine art through constantly modulating, simple harmonies, sweetly sung by sopranos and altos from the choir Codetta, and the most luminously delicate instrumental textures. Stanford as Mendelssohn, perhaps, and it’s lovely’ (BBC Music Magazine)

‘Drake’s way with the highly individual piano-writing makes much of the harmonics, sonority and percussive demands. Spence, always a fine recitalist, here shows that his lyrical voice is now developing in fascinating ways. He still has the bright fluidity atop the stave but there is now a bronzy heroic quality at the core that brings the more dramatic, desperate and impassioned moments to vivid life. Yet there is a sense of sadness that pervades the whole—his voice suits the idiom. His words are astonishingly clear too so that even a non-Czech listener can easily follow along with the text provided without getting lost’ (Classical Source)» More

‘What makes this special? … it’s the high poetry of [Kolesnikov's] fingering, conjuring from his Yamaha CFX concert grand … sounds of such deftness and clarity that my mouth kept dropping open’ (The Times)» More

«Kolesnikov est le fascinateur qui, dans une ambiance sonore beaucoup plus calculée et sur un piano sans failles, vient vous hypnotiser et vous attirer dans son univers dès la Valse op. 69 no 1» (Le Devoir)» More

‘Gugnin is a Moscow/Como-trained pianist of platinum technique with a wealth of imagination and fantasy. Aspects of this Shostakovich album remind me of the young Demidenko in his glory years—a Hyperion signing from earlier days. There's the same sense of urgent rhythmic spring, the ability to pulverise and poeticise, the icy attention to textural clarity and chordal voicing, the foundational weight of bass registering, the wideness of dynamic range. It's a galvanising chemistry … outstanding’ (Classical Source)» More

„[Die] langsamen Sätze bergen die letzte und vielleicht größte Gemeinsamkeit : Sowohl Hans Pfitzner als auch Walter Braunfels trauten sich, in einer Zeit, in der Schönklang und Innigkeit langsam aber sicher in die Kritik gerieten, ihr Innerstes nach außen zu kehren. Was in diesen Sätzen zu hören ist, ist keine routinierte Schwelgerei, sondern tiefes Gefühl. So zumindest verkaufen es Constantin Trinks, Markus Becker und das Rundfunk-Sinfonieorchester Berlin“ (WDR 3)

„Hörenswerte Werke also, die bei Markus Becker in überaus kompetenten Händen sind. Immer wieder macht dieser Pianist mit ganz besonderen Projekten auf sich aufmerksam: Seinen brillanten interpretatorischen Leistungen und seinem gediegenen künstlerischen Habitus nach darf er sich zu den wirklich bemerkenswerten Pianisten unserer Zeit rechnen … das Rundfunk-Sinfonieorchester Berlin unter Constantin Trinks begleitet Becker engagiert und routiniert auf seinem anstrengenden Weg durch die schwierigen Soloparts“ (Rondo, Germany)» More

‘If I listen one more time to Andrey Gugnin playing DSCH I shall probably be locked up for my own safety’ (Ludwig Van, Canada)