‘Osborne's recent release of Beethoven's final three piano sonatas on the Hyperion label packs a powerful emotional punch through technical command, delicate subtleties and sheer strength … Osborne has us in the palm of his hand for each of these meaningful journeys, generously sharing the essence of Beethoven's genius’ (WPR, USA)» More

‘This latest instalment is a winner … throughout, Linus Roth is the master of his craft, at one with the three Concertos, and benefitting from alert and sympathetic support from Antony Hermus and the BBC Scottish Symphony Orchestra, all rounded by Andrew Keener’s exemplary production and Simon Eadon’s first-class sound’ (Classical Source)» More

‘A project delivered with McCreesh's customary attention to detail, ranging from sourcing appropriate timpani to calculated spatial effects such as the Regalia Procession heard moving through the distant cloister. It's a labour of love and sounds it … vivant the Gabrielis—not forgetting the massed 250 young singers of their outreach 'Gabrieli Roar' (BBC Music Magazine)

‘One can imagine the virtuosity required by every contributor, at every turn, to make this a reality, let alone a dazzling triumph. The documentation is comprehensive and satisfying’ (Gramophone)

‘The revelation for me was Stanford’s powerful response to the unfolding carnage of the Great War, his 1915 anthem For lo, I raise up. Beneath the superficial swagger lies one of his most inspired works. The choral singing here is breathtakingly good … the expert craftsmanship of these three composers has been truly well served by James O’Donnell and his wonderful musicians’ (Gramophone)

‘Osborne plays the variations of Op 109 with refinement, letting them grow to majestic proportions before returning to the cantabile simplicity of the theme. And he takes Beethoven's marking 'con amabilita' as his cue for the first movement of Op 110, playing with such restraint that it feels as though lost in a dream—then letting the earthy energy of the drinking song crash in as a rude incursion. The rest of this Sonata comes in carefully-calibrated chiaroscuro as Beethoven's colourings modulate from subfusc greys to a final blaze of light. After a mighty and full-blooded account of the Op 111 Allegro, he gives both the jazziest performance of the variations I have ever heard, and also one of the most heart-stopping in their ultimate finality’ (BBC Music Magazine)» More

‘It takes a special kind of pianist to make certain pieces sound better or more important than they actually are, and Shelley certainly knows how to sell Cramer. His inflections of phrase convey palpable tension and release, while long, sustained cantabiles unfold with vocally orientated modulation. Both as soloist and conductor, Shelley pays special attention to the timing and articulation of embellishments, ornaments and roulades, as borne out in the Fifth Concerto’s zesty main theme, plus the brass and timpani’s cutting brilliance. Jeremy Dibble’s superb and musically detailed annotations are most welcome, and so is Hyperion’s well balanced, judiciously resonant sound’ (Gramophone)

‘Superb singing by the Huddersfield Choral Society … Martyn Brabbins directs a vigorous and characterful account’ (BBC Music Magazine)

‘This now becomes my first choice for Howells’ An English Mass and the Cello Concerto and it comes with several attractive bonuses to boot. I hope that it will help to boost appreciation of Howells’ music’ (MusicWeb International)

‘Performances are as fine as we have come to expect from the Binchois Consort, not least in Byttering’s energetic En Katherine solennia. In the accompanying booklet, there is the bonus of scholarly and readable notes, illustrated by photographs of relevant works created by the Consort’s sculptor in residence, Sarah Danays’ (Early Music)» More

‘As in their superb account of the Organ Symphony, Thierry Fischer and the Utah Symphony’s performances here are polished and graciously articulate … there’s exhilaration, too, mind you—in the quicksilver finale of the A minor Symphony, for example, Fischer and the orchestra show they can turn on a dime … the entire programme is recorded with crystalline clarity in a natural, airy concert-hall perspective. I’m already craving the next instalment’ (Gramophone)

‘Howard Shelley gives meltingly lyrical and beautifully shaped accounts of all four pieces, his smooth and singing tone well-suited to this musical idiom; and he makes a heroic effort in also directing the orchestra from the keyboard in repertoire that keeps the pianist's hands extremely busy’ (BBC Music Magazine)