‘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)

‘Even if you have other recordings of The Protecting Veil, I recommend this utterly beautiful and originally framed version unreservedly’ (Gramophone)

«Martyn Brabbins termine en beauté une intégrale symphonique qui fera date. Le chef polit chaque facette de ces partitions kaléidoscopiques, peaufine chaque incision dans la matière sonore et révèle, à travers les timbres subtils de son orchestre, un nuancier infini» (Classica, France)» More

‘Spence is prized for his operatic Janáček roles and delivers a wide variety of tone, while Drake adds quasi-orchestral drama to the piano part. The makeweight works are welcome’ (The Sunday Times)» More

‘The Huddersfield Choral Society are quite magnificent on the new issue. Contemporary critics rightly raved about the London Symphony Chorus on the Chandos discs but the Yorkshire choir seem earthier and less studio-bound than their illustrious predecessors, an approach which somehow humanises a work which can often seem lofty and over-worthy. The Orchestra of Opera North are responsive accompanists and give the LSO a run for their money. If the trademark Chandos spaciousness is still impressive after twenty-odd years, the Hyperion sound is terrific too—similarly detailed, but arguably more spontaneous and exciting. Martyn Brabbins … makes a noble, cogent case’ (MusicWeb International)

‘This CD is the 22nd in Hyperion’s Romantic Violin Concerto series, and is presented with that company’s usual thorough documentation and excellent recording and performances’ (MusicWeb International)

‘The performers … are right inside the notes, and are wise and generous interpreters. Jeremy Dibble is the ever authoritative booklet note writer. This makes a fine companion to their recording of the First and Third Trios’ (MusicWeb International)» More