‘Gerhardt’s one of those players who finds what feels like a fine balance between the intimacy of Bach’s solo suites—the personal reflection—and the more extrovert act of performing and recording them for an audience. I like the lightness of his touch when it comes to the chords, the way he accompanies the main line without distorting it, yet also allowing himself plenty of freedom of expression and enjoyable plasticity of tempo’ (BBC Record Review)

‘Osborne’s explosive edge-of-the-seat approach to the rhetorical outbursts of the second movement [of Op 110] is combined with wonderfully clear articulation, and then there’s the profundity of the Adagio leading to the powerfully melancholy final fugue. And before all of those things, the heart-stopping simplicity and tenderness of the sonata’s opening … this recording contains the full dynamic range of Osborne’s playing without compressing or distancing for safety. The volatility and dangerous edge to it comes through undiminished. This is Beethoven with no safety net, thrillingly alive … it's my Record of the Week’ (BBC Record Review)

‘The quality of the playing and particularly the upper strings of the BBC Scottish Symphony Orchestra is superb; it's by far the best of—dare I say it?!—the BBC orchestras, and it's lovely to hear Martyn Brabbins at home with these idioms … anyone Tippett-curious needs this’ (BBC Record Review)

‘This fine disc concludes Martin Roscoe’s consistently insightful and agreeable four disc conspectus of Dohnányi’s piano music. Weighing in at over eighty minutes, it’s a bumper issue containing three major cycles, the fine Passacaglia—a remarkable creation for a twenty year old—and an encore piece after Brahms. Roscoe’s meaty-sounding Steinway is caught throughout in superlative Hyperion sound … a thrilling conclusion to a superb disc in particular and a revealing series in general. Subscribers to the previous three volumes need not hesitate’ (MusicWeb International)» More

‘Excellent and committed playing by soloist and orchestra … as always, the Hyperion sound is excellent as are the booklet notes by Jeremy Nicholas, making this a very worthy addition to this wonderful series of Romantic Piano Concerto recordings’ (MusicWeb International)» More

'Voor de orgelliefhebbers die Guilmant en Widor zeer waarderen, maar aan Vierne en Debussy moeten wennen zijn deze drie poëtische klankschilderingen een absolute aanrader … het orkest en de solist spelen transparant, verfijnd en gedetailleerd' (Orgelnieuws, Netherlands)

‘Gnarlier movements like the gritty prelude to Suite No 5 are thrillingly accessible. Gerhardt's cello speaks like a wise old bloke sat in a cosy pub, one who chooses his words wisely. When he's in full flight he's utterly compelling. Witness the startling opening to Suite No 3 once the pounding pedal Gs begin, Gerhardt turning the screws until the C major cadence offers delicious, welcome relief. The same suite’s sarabande is heart-stopping. There’s never a dull moment: these are humane, deeply thought performances captured in glowing sound’ (TheArtsDesk.com)» More

‘English composers living at the beginning of the fifteenth century … writing modern music, and if you listen to it with those ears you realize how wonderful it is. But you also realize what the job of The Binchois Consort is, and how well they do that—they make it sound very contemporary … there's no place to hide, but they don't need it’ (BBC Record Review)

‘[Osborne's] ultimate and selfless achievement has been to make the listener newly appreciate what an extraordinary, uplifting and contemporary composer Beethoven is’ (The Times)» More

‘You’ll find 21 trumpets here, variously blasting through fanfares and other regal finery in heart-lifting music by Elgar, Parry, Vaughan Williams, Walton and company, vigorously dispatched by performers who at their peak number almost a thousand. Set down mostly in the atmospheric acoustic of Ely Cathedral, with period instruments involved, this is an astonishing recording.’ (The Times)

„Von Steven Osborne habe ich so viele gute Aufnahmen von sehr unterschiedlichen Komponisten gehört, dass scheinbar alles zu Gold wird, was er anfasst. Seine neue Beethoven-CD macht da keine Ausnahme, im Gegenteil“ (Pizzicato, Luxembourg)» More

‘[The Orlando Consort's] latest release showers us with 15th-century beauties, chiefly secular, by the masterful Guillaume Dufay, who knew a good tune when he found one. He also knew the pleasures of voices weaving in striking counterpoint, and the combination, in this Consort’s hands, produces music-making of much fascination and joy. Wholeheartedly recommended’ (The Times)