‘A fine achievement all-round: in choice of repertoire, in excellence of performances and in presentation this issue cannot be faulted … [the music] is undoubtedly deeply-felt, genuinely artistic, often inspired, magnificently orchestrated and structured, well-worth the attention of all music-lovers interested in British music, an impressive tribute to a figure whose contribution to the UK’s musical heritage, the teacher of—amongst others—Vaughan Williams, Stokowski, Holst, Ireland and Bliss, cannot be overstated’ (Classical Source)» More

‘The singing across this disc is excellent, with the performance of The Diary of One Who Disappeared already becoming my first choice … a wonderful performance of all three works, one which is blessed with equally fine production values. Highly recommended’ (MusicWeb International)» More

‘Their encore of the first of the Three Romances written for Brahms’s favourite violinist, Joseph Joachim, three years before the death of Clara’s husband … attracts special attention: a delectably wistful 'song without words' that Ibragimova and Tiberghien lavish with a broad palette of autumnal, melancholic colours. The Brahms sonatas—Clara gave up composing after Schumann’s death and devoted herself to promoting his young protégé’s career—receive magisterial performances from both players, worthy of the finest on disc. They revel in the typically Brahmsian shifts of mood between songful nostalgia and turbulent drama, yet suffused with a yearning melancholy. Deeply moving’ (The Sunday Times)

‘The Jupiter Project seeks to uncover an intriguing early 19th-century repertoire of arrangements of classical masterpieces for flute, violin, cello and piano. Here Bircher, Balding and Skidmore join the pianist and researcher Norris in some of its choicest fruits, giving vivaciously persuasive performances of Clementi’s 1822 take on Mozart’s final symphony’ (The Sunday Times)

‘A potent disc, grandly sung, played, and recorded—and fully worthy of a spot in the pantheon with the likes of Hotter, Fischer-Dieskau, Goerne, and Quasthoff’ (The Arts Fuse, USA)» More

‘The recording, I think, is as fine as the performances … the singing of Trinity College Choir under Stephen Layton [is] beautifully focused—superbly controlled, the climaxes soaring heavenwards with an ease and power [in the Magnificat] that's emblematic of the whole album. This is the highest quality choral Finzi’ (BBC Record Review)

‘The real thing that sold it to me is Shelley’s jeu perlé … a phenomenally difficult keyboard technique where every note that goes down on the piano sounds like a perfectly rounded, glowing pearl. It does not sound like a hammer hitting three strings, and to be able to sustain that sound quality over that fearsome passagework is truly, truly impressive … [the orchestra is] very sensual, which I like. I get the feeling that they feel loved in the playing of this music; they enjoy the sound. There’s a real warmth, especially to the string sound’ (BBC Record Review)

‘Esfahani opens his new CD of Bach’s Toccatas with almost feral energy. This is Bach with attitude, exuberance, and ecstasy. It is as if he had been waiting his whole life to play these fantastically difficult pieces’ (The Arts Fuse, USA)

‘This Norris-led interpretation [of the 'Jupiter' Symphony] is immensely satisfying; if only orchestral performances were always as perceptive as this. The tempos are ideal and Norris holds strictly to them; there are no whims or fancies. The Symphony’s structure is clearly represented, every repeat is made and one’s attention is held throughout the forty-minute performance. Clementi strongly features the piano but he is able skilfully to represent all the inner lines—a remarkable feat in the complex fugal Finale’ (Classical Source)» More

‘If you’re prepared to accept this exceedingly well-played and recorded CD for what it is, then you should wholeheartedly enjoy it … there is still far more than enough heartfelt, melodious music and attractive harmony, which is well-crafted and beautifully written, too, to keep most people happy. And if, as I was, you’re keen to get to hear more Parry, or are coming to him for the very first time, then this highly-desirable new chamber music CD could be the most ideal and enjoyable way of doing so’ (MusicWeb International)

‘This is a disc to throw oneself into again and again. Unquestionably one of the very finest Bach keyboard discs of recent decades’ (The Europadisc Review)» More

„Detailfreudig, ungewöhnlich: Angela Hewitt schaut genau auf Beethovens Dynamik-und Tempo-Angaben—und schafft in seinen Klaviersonaten spannend neue Hör-Einsichten“ (HR 2 Kultur, Germany)