‘Every unorthodox texture, ostinato and accompaniment makes its mark; the Brucknerian discontinuities are relished as musical theatre, with silences tense and dramatic … everything sounds good in Glasgow's gorgeous City Halls. Kullervo may not have triumphed, but the Scots and their Danish chief conductor absolutely do here’ (BBC Music Magazine)» More

‘A total delight’ (BBC Music Magazine)

‘Such a well-established and often inspirational musical partnership that I inevitably had high hopes for their Brahms sonatas, and I’m so happy to report that they were in no way disappointed. Right from the start (the first movement of the G major sonata), there’s a confessional intimacy that allows them to steadily build over the entire ten minute span of the first movement to a properly ecstatic conclusion rarely achieved as well as it is here. No extreme tempos, an unerring sense of give and take—you might be surprised how many estimable players don’t seem to know when to allow the other party to take the limelight. The climaxes are telling, without hectoring. They allow the music to speak eloquently, conversationally, surprisingly gently sometimes, and the recording is as well balanced as the playing. I have a handful of favourite recordings of the Brahms violin sonatas that will now have to shuffle up to make space for this one.’ (BBC Record Review)

‘The pairing of Ibragimova’s sweet-toned but deeply intelligent playing with Tiberghien’s wonderfully transparent pianism works wonders with Brahms … these are indeed unforgettable performances, combining exquisite tonal refinement with the constantly alert musical intelligence that is a hallmark of these players’ collaborations, and they must surely take their place at the head of a very distinguished field indeed … altogether, an absolute peach of a disc, and Brahms playing of rare distinction’ (The Europadisc Review)» More

‘The performances of these shrunken orchestrations are admirable throughout. David Owen Norris plays the solo piano part in the concerto, as well as the lion’s share of notes in the other selections, deftly. Understandably, all four of these works proffer a different energy and soundscape than the versions we are accustomed to in the 21st century. But so what? They are seriously entertaining even if drastically reduced in forces—ebullient and, at times, quite moving’ (The Arts Fuse, USA)

‘For some time now, Nicky Spence has been making his mark as one of the most communicative of young British singers (Spence is a Scot), and this disc is a reminder of what he has achieved. The contribution of the pianist Julius Drake is, of course, sui generis, and he is the perfect accompanist; the marriage of singer and piano here is nigh impeccable.’ (CD Choice.co.uk)

‘[Hewitt] is consistently illuminating, vibrant and intensely ‘in the moment’. She brings a wonderful spontaneity of direct interaction’ (MusicWeb International)

‘Stephen Layton leads one of the best choral ensembles in the world for this repertoire … with Trinity Choir’s attention to detail and unaffected clarity—the top line in particular is a kind of perfection—these famous works glow. And it is a nice touch that Layton adds brass and percussion to God is Gone Up … it is not always that the liner notes for a recording need mention. But these here are provided by none other than Francis Pott, the celebrated British composer, and are beautifully done’ (Catholic Herald)

‘Markus Becker proves an eloquent, visceral master of the notes, making for a thrilling premier recording. And in Constantin Trinks he has a dedicated partner, who takes an admirably collaborative view of events. Comfortably recorded across nearly a week, the Berlin Radio Symphony supports characterfully, with a crisp sense of attack, ensemble and solo contribution … this is a winning addition to the catalogue’ (Classical Source)» More

‘Hyperion has a total winner on its hands. Brahms, Alina Ibragimova and Cédric Tiberghien are perfectly cast; these are mesmerising performances wonderfully well recorded by Simon Eadon (Andrew Keener producing)—with intimacy, clarity, faithful dynamics and spot-on balance—after all, these are Sonatas for Violin and Piano, and these artists are such a charismatic partnership; their give and take is palpable, their devotion to the music deep and dedicated, and their insights illuminating’ (Classical Source)» More

‘The Consolation of Rain answers the grief of loss in beautifully sensitive, consummately delicate performances by Camerata Pacifica as it moves from keening lament to peaceful, accepting release. No less beguiling is The North Wind was a Woman, a hauntingly realised song-cycle imagining the natural world with human characteristics. Originally written for Dawn Upshaw, here Nora Fischer’s equally characterful but lighter, more fluid vocals pay poetic dividends aplenty in Bruce’s folksong allusions aided by dexterous accompaniment from the North Wind Ensemble. Superb sound makes this well worth investigating’ (Classical Ear)» More

‘All in all, this is a most desirable new recording’ (MusicWeb International)» More