‘These three sonatas seem to express everything in music, including wit and generosity. Osborne, always a player in absolute service to the composer, captures Beethoven’s humanity, tumult and crazed fervour. This revered Scottish pianist has a special capacity for the ethereal. Check out the opening of the last movement (Andante) of Op 109, in the Adagio of Op 110, in the Arietta of Op 111’ (The Guardian)

‘It is probably not too far a stretch to suggest parallels with the great late String Quartet recordings of the Busch Quartet or the Alban Berg Quartet; there is a similar level of understanding from Osborne … a stunning release. Osborne’s readings will, beyond doubt, move you’ (MusicWeb International)» More

‘El León de Oro is in every respect worthy of inclusion among the world’s finest interpreters of this repertoire … without question, this program honors and achieves one of the tenets of all great performances: leave them wanting more’ (Classics Today)» More

‘These are charming works, given well-deserved—and well-crafted—performances here for Hyperion by violinist Benjamin Nabarro, cellist Gemma Rosefield and pianist Tim Horton. The Molto vivace of Trio No 1 fizzes with effervescence, while the players bring earnest emotion to the slow movement and motoring intensity to the finale … a worthwhile and overdue recording’ (Limelight, Australia)» More

‘I love that there’s nothing about this performance of Clara’s concerto that underplays its ambition, charm and the Romantic thrust of the finale. Good recording, too. Thoughtful couplings as well, including the Konzertstück by Ferdinand Hiller—a concerto in all but name … a timely contribution to Clara Schumann’s 200th anniversary year’ (BBC Record Review)

‘Roscoe’s attention to detail, coupled with his flair and panache makes this an essential disc, and indeed series, for any lover of the music of Ernő Dohnányi, and indeed for anyone coming to this music new … the booklet notes, in English, German and French are excellent, in that they give detailed accounts of the music and of the composer, whilst the recorded sound is up to Hyperion’s usual high standard’ (MusicWeb International)» More

‘Under Lumsden’s inspired direction, the singing amplifies the certainties of Tavener’s faith, his unshakable belief speaking volumes (almost literally) in the arresting organ entry of God is with us, with a text adapted for Christmas Eve from the Orthodox Great Compline. Its emotional impact from boys and men is totally convincing, as is the authoritative singing of William Kendall … a great job also from engineer Andrew Mellor who has harnessed the Cathedral’s acoustic to enhance the music’s simultaneous momentum and stillness, chords floating around untethered and timeless, an intensity truly mesmerising … the dancing rhythms of ‘O Mary Theotokos’ bring a final demonstration of this Choir’s empathy with a composer who has immeasurably enriched Winchester Cathedral’s spiritual life’ (Classical Source)» More

‘Last year I gave a warm welcome to the new version of Tippett’s first two symphonies under Martyn Brabbins. Now in a convenient two disc package come not only the remaining two numbered symphonies, but also the first recording of Tippett’s earliest, unnumbered attempt at the form … this release, together with its predecessor, can now take its place as the standard recommendation for Tippett’s symphonies, and they deserve every success’ (MusicWeb International)» More

‘This superb Hyperion issue is Cédric Tiberghien’s first foray into Liszt, and he has gone in at the deep end … the recording makes clear the consistency of Tiberghien’s control of focus and tonal range, but it is more the ease with which he gets beneath the surface of these troubled, elusive pieces that makes its mark with a strong illusion of improvisatory directness … this release is as much to do with Tiberghien’s marvellous playing as with his acutely tuned intelligence and artistry—this really is music from the edge’ (Classical Source)» More

‘The Organ Symphony gets off to a splendid start, the orchestra’s instinctive muscularity tempered by Fischer’s engaging Gallic fluidity. His attention to detail creates a vivid, liquid sense of ensemble. The Poco adagio is stretched into bewitching passages of long-breathed poetry, Paul Jacobs’ gentle introduction of the organ a thing of beauty. The finale is wondrous, the soaring tune at its centre a clarion call. Recorded live in the accommodating acoustic of Abravanel Hall, this finely recorded disc benefits from not a hint of distracting noises-off’ (Limelight, Australia)» More

‘It’s a tribute to Steven Isserlis and Olli Mustonen that it’s hard to imagine more thoughtful, well-prepared performances. Yet this is also playing in which everything is ‘in the moment’. Every vivid emotion—passion, anguish, hysteria, vivacity, despair—makes its mark. Mustonen brings a composer’s sensibility to his work, and a deep knowledge of these musical worlds from his other life as conductor. Isserlis is en pointe throughout—this is a tremendous partnership’ (Limelight, Australia)» More

‘A key work in Elgar’s development towards the genius that soon was to produce Gerontius and ‘Enigma’. It also contains a significant amount of very good music in its own right. This very fine performance enables us to appreciate its stature’ (MusicWeb International)» More