‘There’s a new series of Saint-Saëns recordings from America that’s starting to get some positive critical attention, and for very good reasons … this is turning out to be an excellent reappraisal of symphonic Saint-Saëns … I hope there’ll be more’ (BBC Record Review)

‘I enjoyed the way they’ve interspersed the Mass movements with plainchant by Hildegard of Bingen … allowing Tallis’s Spem in alium to bring it all to a radiant close’ (BBC Record Review)

‘One of the strengths of the group is the beautiful balance … and their tremendous concept of a suitable tempo for each song … it’s good finally to have a disc completely of Dufay which is totally a capella, and even if you have discs by other groups from other eras this will add perfectly to your collection’ (MusicWeb International)» More

‘The recording is well matched with artistry that flickers, surges and pursues a legato path and that extends to all the musicians and technicians involved. These qualities illuminate generously romantic works that otherwise have sunk in Housman’s terms ‘far past the plunge of plummet’’ (MusicWeb International)» More

‘Roth plays with almost missionary zeal, he and the BBC Scottish Symphony Orchestra, under Antony Hermus, making a convincing case for these works to be more widely performed’ (The Guardian)» More

‘The performances are excellent, the recording spectacularly good and I found the experience utterly convincing. It's a remarkable achievement’ (BBC Record Review)

‘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)