'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)

„Alles in allem offenbart die Programmauswahl die Stärken ihres durch und durch lyrischen Soprans, der wunderbar aufblühen kann wie in den beseelten „Sechs Gesängen“ op. 7, in denen auch Gedichte von Eichendorff und Uhland vertont wurden. Sie sind deutsche Romantik pur, und Harriet Burns offenbart einen tiefen Sinn und eine Begabung für derlei Repertoire“ (Opera Lounge, Germany)

‘Here we have a real partnership: they phrase and seem to breathe together. They can also show great restraint … Brahms may require a good deal of weight, particularly in the piano parts, but he benefits from an approach which does not aim to squeeze out all the sentiment but uses suggestion and nuance. In the G major work, they offer gentle playing with a lift to the rhythm in the first movement and an excellent build up to the climax of the development. They keep the slow movement moving and the mysterious passage towards the end is particularly finely realized. The finale is tender and fragile with no sense of rush … there are, of course, many other recordings of the Brahms violin sonatas, including such classics as Suk with Katchen and Perlman with Ashkenazy. This is a worthy successor and will give much pleasure’ (MusicWeb International)» More

‘Under Mahan Esfahani’s fleet fingers, and even fleeter imagination, [the Toccatas] positively fly … Esfahani continually finds more in the music than the page might suggest … fugues that in other performances outstay their welcome simply don’t. Esfahani perfectly understands the toccatas’ architecture, yet celebrates their quirkiness and, interrogating every note, is generous with expressive pauses’ (BBC Music Magazine)» More

‘Buoyed by Johnson’s acutely judged accompaniments, the fresh-toned young soprano Harriet Burns, on her CD debut, spins a pure line and responds sensitively to the echt-Brahmsian moods of loneliness, regret and pathos … in the Deutsche Volkslieder, several sung here as duets, she and tenor Robin Tritschler nicely balance artlessness and telling characterisation’ (Gramophone)

„Hat hier jemand Sonate gesagt? Dabei klingt dieser Brahms mit Alina Ibragimova und Cédric Tiberghien wie ein veritables Violinkonzert, nein, wie ein verspieltes Ständchen, pardon: ein inniges Liebeslied. Oder doch wie eine Improvisation? So hat man Brahms noch nie gehört. Ganz selbstverständlich gelingt es Ibragimova, den deutschen Romantiker mit dem Sound der russischen Violinschule, perfekter Technik und viel Persönlichkeit neu zu hören. Wunderbar!“ (Kultur-Tipp, Switzerland)

‘The finale of Op 100 conveys both warmth and wonder through subtle colouring, supple phrasing and a streamlined narrative trajectory; and the delicacy of Op 108’s third movement is ravishing, thanks in large part to Tiberghien’s feather-light touch. Indeed, the pianist’s playing is captivating throughout, his pianissimos just as breathtaking as his partner’s’ (Gramophone)