«De son Yamaha (« l'un des plus fins instruments que j'aie joué »), Cédric Tiberghien tire des sonorités d'une grande variété, sans chercher à rendre cette musique plus aimable qu'elle ne l'est—Sunt lacrymae rerum et les deux Cyprès baignent dans une humeur auprès de laquelle l'ébène serait couleur de rose … le large ambitus dynamique fait de Sursum corda une apothéose qui est aussi libération» (Classica, France)» More

‘Esfahani is, for many people, the greatest living harpsichordist, a musician of rare sensitivity and taste. This fine artist has considerable technique but he never flaunts it and all his gifts are here devoted to the service of Bach in performances of remarkably committed quality. Hyperion has given him a recording of first-class quality, and there is not a soiled note anywhere. A rare and, in its way, a thrilling and moving set of unbeatable performances’ (Musical Opinion)

‘Clarity is the key quality of the recording as much as of these performances … Angela Hewitt evidently works hard to make every detail, however tiny, tell, while at the same time striving for perfection of overall form … Hewitt also has an ability to relish surprise, while making sure that the thing we're led to expect makes more sense than what was anticipated’ (BBC Music Magazine)

'Het BBC Scottish Symphony Orchestra is een van Hyperions favoriete huisorkesten (vaak zijn radio-uitzendingen gekoppeld aan de cd-releases). Linus Roth en Antony Hermus zijn nieuw in de serie, maar maken zich al meteen volledig waar. De Duitser Roth speelt vaker onbekend repertoire en zet zijn Dancla-Stradivarius met hartstocht en een lyrische mooie toon in voor deze muziek alsof het om meesterwerken gaat. En dat worden ze dan vanzelf. Even idiomatisch, met hoorbare toewijding, wordt er gedirigeerd door ‘onze' Antony Hermus en daarmee wordt deze cd een feest om naar te luisteren. Ik heb het vaker gezegd: provinciaalsheid werkt in zo'n geval averechts, topuitvoeringen moeten het zijn. Kopen!' (Opus Klassiek, Netherlands)» More

‘In the beguiling slow movement [of the Scharwenka] he soars most affectingly above the stave and makes the most of the delightful finale, a movement that I can see becoming popular in its own right’ (Gramophone)

‘But restraint is only part of the picture. It’s when the pedal goes down (literally and metaphorically) that this disc really soars, startling the ear into ecstasy with the sudden release of Rachmaninov’s Cherubic Hymn, the ‘bright Seraphim’ of Parry’s Blest pair of sirens and the ‘triumphant shout’ of Finzi’s God is gone up, trumpet calls courtesy of Glen Dempsey and the chapel’s mighty Mander organ. Hopefully it’s a fanfare that will continue to sound for another 150 years’ (Gramophone)

‘Dunstaple’s Salve scema sanctitatis closes the disc in show-stopping style … it made me wish that there had been just a bit more four-voice music, in fact. A welcome feature is the couple of tracks illustrating faburden, a technique for improvising polyphony that was extremely common (I hope that they will do more of this and become freer in doing so); another is the originality of the cover art. There might be more to say about this, yet I must here join the ensemble in saluting the memory of their regular collaborator Philip Weller, whose death late last year leaves his many friends bereft and music deprived of a gifted and faithful servant’ (Gramophone)

«A la tête d'un orchestre brillant, Fischer est parfait sur toute la ligne, et notamment dans la Danse macabre, vive, précise et pleine de panache, menée par un excellent violon solo. Clairement, on s'ache mine vers une intégrale de référence. À suivre» (Classica, France)» More

«La Sonate de Kabalevsky est une merveille, les interprètes se montrant ardents dans l'Andante molto sostenuto, minutieux et tempétueux dans l'Allegretto suivant … parmi les pièces de moindre envergure qui complètent ce programme, on admire la raucité du jeu d'archet et la noirceur du clavier qui font de la Ballade de Prokofiev un pur cauchemar» (Classica, France)» More

‘This new recording from the BBC Scottish Symphony Orchestra under their chief conductor Thomas Dausgaard captures that thrilling combination of brooding Nordic evocation with expressive edginess like few others. Right from the outset the BBC Scottish strings manage to pitch their tone ideally between folk-like earthiness and concert-hall refinement, while mellow horns and plangent double reeds give the opening character portrait a noble intensity … Hyperion’s experienced recording team of Simon Eadon and Andrew Keener have done an outstanding job evoking the unique atmosphere of this landmark score in the space of the City Halls, Glasgow, and this disc now takes its place among the most urgently compelling accounts of Sibelius’s early masterpiece. Essential listening for those wanting to explore the composer beyond the conventional canon, and with presentation greatly enhanced by notes from Sibelius expert Daniel Grimley’ (The Europadisc Review)» More

‘Unknown until after Sibelius’s death in 1957 (an astonishingly strong-minded self-imposed ban after the hugely successful premiere in 1892) we recognise Kullervo as a key to his development. First recorded 40 years ago, it appears occasionally on disc but one doubts if a finer account than this has appeared. Dausgaard is magnificent, holding the five-movement structure together superbly, inspiring orchestral and vocal forces to compelling musical expression. With excellent sonority, here is early Sibelius—fully authentic and already a genuine master. This is a thrilling and moving musical experience’ (Musical Opinion)

‘Dausgaard and the BBC SSO demonstrate what a remarkable work Kullervo can be’ (Opera Today, USA)