„Die Klarheit von Tiberghiens Spiel schärft den Blick für die Tief- und Abgründigkeit dieser Musik, ohne deren rätselhafte Schönheit außer Acht zu lassen—ein wichtiger Beitrag zu einem komplexen Liszt Porträt“ (Fono Forum, Germany)

«Simon Callaghan sait conférer une âme à la rhétorique toute traditionnelle de cette page tour à tour héroïque et ampoulée, ou débordante d'effusion lyrique. Il surmonte avec aisance et panache les difficultés d'une partition hérissée de pièges (déploiements trépidants d'accords en force ou agilité déliée de capricieux arpèges) et est capable d'infuser un sentiment convaincant aux échanges entre piano et instruments solistes dont l'habile instrumentation de l'auteur se montre friand» (Classica, France)» More

‘And then there is Danse macabre, one of Saint-Saëns’s biggest hits, and rightly so, brilliantly descriptive of a graveyard at midnight and dancing skeletons, cued by fruity-toned concertmaster Madeline Adkins; as for the Symphonies, Danse is given a performance of style and commitment … enjoy!’ (Classical Source)» More

‘Howard Shelley and the Tasmanian Symphony Orchestra offer a compelling account of what would remain the young composer’s most ambitious work. Succinct though the concerto may be, with three linked movements totalling 21 minutes, the technical challenges of the solo part are considerable. Shelley meets these with characteristic aplomb, including an especially nice collaboration with cellist Sue-Ellen Paulsen in the slow movement’s cello obbligato. The alla polacca finale, the concerto’s first-composed and most developed movement, is imbued with the appropriate dash and hauteur’ (Gramophone)

'De watervlugge, maar nooit oppervlakkig spelende pianist Howard Shelley houdt er een virtuoos onderhoudend pleidooi voor, zonder zich te verliezen in pretenties die deze muziek toch niet waar kan maken. Als koppeling zijn de evenzo elegant vertolkte concertstukken van pianovirtuozen Herz (Rondo de concert opus 27), Hiller (Konzertstück opus 113) en Kalkbrenner (Le rêve opus 113) bijzonder gepast' (De Nieuwe Muze, Netherlands)» More

‘All six works receive performances of the utmost quality, and the recorded sound in well up to the standards expected of Hyperion with, in particular, a highly successful balance between the instruments. Steven Isserlis, not content with being an outstanding cellist, is also a most accomplished writer, and his engaging booklet note is a positive feature of this issue … I have to hand alternative performances of the Shostakovich Sonata only, and find that this is now my favourite reading of the work’ (MusicWeb International)» More

‘This is a showroom demonstration of just what boy and girl choristers singing together can achieve. A truly magnificent birthday present’ (Gramophone)

‘This is simply superb in every way. Franck's Sonata in A usually dominates any violin recital, especially when the performance is as wonderful as this, yet here it is but one component in an exquisitely balanced programme … a generously-filled disc that ends all too soon’ (BBC Music Magazine)» More

‘This is an exceptional release’ (Classical Source)» More

‘This is a truly exciting release. In using that word I’m not just referring to the big, set-piece musical items. The smaller-scale pieces are just as thrilling to hear, but in a different fashion. But what makes this album particularly exciting is, firstly, the sense of history and tradition that is so vividly conveyed and, secondly, the fact that so many young musicians—clearly very talented—have been involved’ (MusicWeb International)

«De l'autorité la plus rude à la tendresse la plus suave, ce sont toutes les humeurs qui traversent l'interprétation de Steven Osborne. C'est un Beethoven qui impose un point de vue avec un jeu décidé, franc, direct. Un sens de la forme qui ne faiblit jamais, une qualité de son qui force l'admiration. C'est un jeu tendu qui empêche l'auditeur de lâcher prise. On demeure admiratif du contrôle de chaque détail qui n’empêche jamais le souffle» (France Musique, France)» More

‘While it’s naive to talk about a 'best choice' for such well-contested repertoire as this, these readings can confidently be placed amongst the finest to appear in recent times … everyone should know these sonatas, and Osborne’s album deserves to do well’ (Classic FM)