‘Possibly the biggest takeaway of this release, however, is the superb artistry of Simon Callaghan. Already represented by two discs in Hyperion’s Romantic Piano Concerto series, it is a pleasure to encounter his solo work. Clearly a musician of curiosity and discernment, Callaghan’s robust piano-playing is also thoughtful, subtle and refined. I look forward to hearing whatever he does next’ (Gramophone)

‘The Leonores sound like they’ve lived with and loved these pieces for years: they surf the ebb and flow of Parry’s surging, often tempestuous lyricism with the same grace and style that they bring to the radiant sunset codas that close the first movements of each work … even had there been a century-long tradition of recording Parry’s chamber music, I suspect this would still shoot straight to the top of the heap’ (Gramophone)

‘Altogether, this is an album to spend time with and relish as one's familiarity with this music grows in performances which capture the genial warmth as well as the seriousness of this great but gently spoken composer’ (BBC Music Magazine)» More

‘Set down hard on the heels of an acclaimed concert performance in Glasgow during May 2018, Thomas Dausgaard’s new recording of Kullervo has lots in its favour. Not the least of its many virtues is the enthusiastic, scrupulously prepared and rhythmically spry contribution of the BBC Scottish SO (a shout-out to their crisply articulate strings and irresistibly ‘vocal’ woodwinds in particular). Plaudits, too, for Dausgaard’s purposeful, keen-eared direction, some shrewdly chosen tempos ensuring that Sibelius’s daringly ambitious scheme unfolds with impressive cumulative power; certainly, his lithe, red-blooded handling of the remarkable central scena (‘Kullervo and his sister’) plunges the listener into the thick of the action—an impression reinforced by the comparatively upfront balance afforded to soloists Helena Juntunen and Benjamin Appl (both of whom cover themselves in glory) … all told, a hearty welcome to this fresh-faced newcomer’ (Gramophone)

‘Barley's restraint [in The Protecting Veil] proves perfectly judged and a performance of great tenderness and eloquence unfolds, well matched by the excellent Sinfonietta Rīga’ (BBC Music Magazine)

‘Graced with a plush-sounding recording, the Leonore Piano Trio with Rachel Roberts offer incandescent readings which will win over many to these captivating scores’ (MusicWeb International)» More

‘What If does brilliantly is cut to the core of the difference between the two worlds. The rhetorical expression and quasi-improvised freedom of Purcell’s O Solitude (beautifully shaped and paced by Davies) and the rapt wonder of Music For A While blaze newly colourful and warm alongside the blanched landscapes of the Nyman. Purcell left no songs with viol accompaniment, so these consort arrangements by Richard Boothby are an innovation, and one that allows the composer’s sinuous accompaniments to weave with new texture around the voice’ (Limelight, Australia)

‘The performances are notable for immaculate playing and great rapport between pianist and orchestra. Shelley’s interpretations are entirely convincing and the recorded sound is excellent’ (Classical Source)» More

‘Thrilling’ (The Sunday Times)» More

‘A good piece [the Piano Quartet] to play to anyone who accuses Parry of being second-rate Brahms, especially in this urgently propelled performance from the Leonore Piano Trio with viola player Rachel Roberts … I've enjoyed the Leonore's Parry recordings this year a great deal; fine recordings, both of them’ (BBC Record Review)

‘It’s probably impertinent to say that Stephen Layton has already proved himself over and over; no departure here … this is a very fine collection … with much to reward the listener’ (MusicWeb International)» More

„Roth, seit 2012 Professor für Violine am Leopold-Mozart-Zentrum der Universität Augsburg, hat alles, was Scharwenkas op. 95 braucht: neben einer tadellosen Technik auch viel Energie und die richtige romantische Ader für dieses vergessene Meisterwerk. Das zeigt sich auch in den beiden anderen Kompositionen, Eduard Lassens etwas floskelhaftem D-Dur-Konzert und dem einsätzigen Konzert von Rued Langgaard, einem charmant-märchenhaften Werk mit obligatem Klavier. Sehr hörenswert!“ (Stuttgarter Zeitung, Germany)» More