‘This most welcome disc from Hyperion continues the recent trend whereby music by Stanford that has been completely neglected and, frankly, largely forgotten receives an overdue revival … the recording has been engineered very successfully by Ben Connellan and produced by Annabel Connellan: they’ve done a fine job. The excellent notes are by Stanford expert Jeremy Dibble … I suspect that most, if not all the items are new to the recording studio. All are well worth hearing, especially in such good performances and their neglect is unjustified. Our knowledge of Stanford’s music is hereby expanded and that can only be a good thing’ (MusicWeb International)» More

‘The song-like nature of the first two Brahms sonatas is very much to the fore, Ibragimova playing with a miraculously sinuous vocal line, graceful, sonorous and at times heartbreakingly tender. Tiberghien is both poetic and magisterial, particularly in the first movement of the second sonata, Op 100, which requires a huge range of colour and dynamic contrast, all beautifully realised here’ (The Observer)

‘The last two volumes were fine recitals from Benjamin Appl and Ian Bostridge, so the bar’s been set seriously high for the solo debut of soprano Harriet Burns, and she delivers (with the help of Johnson’s stewardship, of course). It’s a really well-planned recital … Harriet Burns makes a fine solo debut here; tenor Robin Tritschler’s contributions to the German folksongs are enjoyable as well’ (BBC Record Review)

„Es ist ein Fest, ein Rausch voll musikalischer Einfälle, delikat und hoch emotional … der Hörer hat unentwegt das Gefühl, die beiden Musiker erzählten Geschichten, Geschichten vom Verschmelzen und Sich-Trennen, von Glückseligkeit und Leidenschaft, von Schmerz, vielleicht von Tod. Alina Ibragimova entdeckt die Brahms’sche Poesie neu, ihr gelingt ein Blick ins Herz des Titanen“ (Aachener Nachrichten, Germany)» More

‘Osborne’s conception of Beethoven’s final sonatas is holistic and completely convincing, and each one builds to a concentrated, thoughtful final slow movement that makes a fitting climax for each. I found the halo of concentration around the finale of No 32 a thing of particular wonder, but that’s to choose one jewel as a purely personal preference from a collection of gems. A lovely set in superb high-resolution sound’ (MusicWeb International)

„Auch hier feiern Ibragimova und Tiberghien das Kantable mit einer Intensität, Klangsinnlichkeit und zugleich mit einer schwerelos anmutenden Tonschönheit, die einem mitten in Herz fährt“ (Rondo, Germany)» More

‘Both concertos have irresistibly charming Romance-style slow movements, while the outer movements are flawlessly constructed. Howard Shelley plays and conducts with such serene control that piano and orchestra seem to become one single instrument’ (BBC Music Magazine)» More

‘We are accustomed, happily, to excellent recorded recitals from Stephen Layton and the Trinity College Choir. This is another fine example of their work. The blend of the voices is ideal and these student choristers sing with an excellent mixture of maturity and freshness. Words are clear throughout, as are the choral textures. In the accompanied piece the two organ scholars, Alexander Hamilton and Asher Oliver, make first-rate contributions. The recording was in the safe hands of engineer David Hinitt and producer Adrian Peacock. Both are massively experienced in recording programmes of the kind and it shows: the sound has warmth and clarity with just the right mount of resonance round the voices. The organ is balanced very well with the choir. Francis Pott’s notes are insightful and valuable’ (MusicWeb International)

‘What a beautifully crafted disc this is—not just in its quality (and it really is Trinity at their absolute best) but also in its shape and programming … [an] outstanding release’ (Gramophone)

‘A magnificent realisation of a viscerally rewarding work’ (BBC Music Magazine)» More

‘In a review of this sort of project it’s customary to add the caveat that these arrangements can’t begin to do justice to Mozart’s original conception of these works. In this case, thanks to four fully committed musicians—primarily the indefatigable Norris—that’s poppycock. The Jupiter, especially, is required listening’ (Gramophone)

‘The Mozart (with concluding applause) is never less than pleasant; the Phibbs, however, is essential’ (Gramophone)