‘In the glory days of conductor Maurice Abravanel, the Utah Symphony was a fixture in any American collection of symphonic music, and even in many beyond that country's shores. The group hasn't been heard much on recordings in the 21st century, so it's a delight to find that under Swiss conductor Thierry Fischer, it hasn't lost a step. Fischer and the orchestra have launched a Saint-Saëns cycle, which is all to the good, and it includes obscure orchestral works along with the numbered symphonies, which is even better … a major release from an exciting American orchestra … highly recommended’ (AllMusic, USA)» More

‘Loges and Burnside are a responsive duo and this is an intuitive set of songs with real light and shade throughout’ (BBC Music Magazine)

‘The Cello Sonata by Dmitri Kabalevsky has been in need of a really first-class recording ever since it was written for Rostropovich in 1962, and I wonder if Isserlis and Mustonen have made one that’s better than the piece itself … this is a recording not to be missed’ (The Strad)» More

‘Tippett 3 is an epic rollercoaster, close on an hour, four movements linked as equal-length pairs. Extraordinary music, like no other, arresting from the off as Tippett unloads motif after motif—whether brassy-jagged, scurrying strings, roulades of percussion, this is music with characteristic dance and volcanic potential … [Brabbins's] long-term approach really allows for a significant development and denouement, the music flaring with intensity (to catastrophe?) and then disintegrating into a chilly transfixing beauty that, iceberg-style, has its depths below the surface … Rachel Nicholls is fantastic, whether singing or speaking, totally uninhibited and magnetic … Brabbins’s view [of No 4] is just as compelling [as Solti's], the BBC Scottish SO just as heroic as their Chicago counterparts (Decca recording), not least the brass, which Tippett makes particular play with … I have played this 4 (and 3) a lot. High production values (Andrew Keener), superb sound (Simon Eadon) and totally committed musicianship (concert performances beforehand) make this release a winner’ (Classical Source)» More

‘Ibragimova excels at sweeping along, hotly feeling every bar on every track, from the mix of whispered lyricism and incendiary blaze in Ysaÿe’s Poème élégiaque to the delicate pianissmo highwire act of Lili Boulanger’s Nocturne, the most delectable of encores. What a pleasure dome this album is’ (The Times)» More

‘This is a release that will surely further enhance Ibragimova’s and Tiberghien’s reputations as among today’s most intelligent and imaginative artists, and it will appeal to chamber music lovers everywhere’ (The Europadisc Review)» More

‘Ethereal and exquisite: Ibragimova and Tiberghien treat the entire work [the Franck Sonata] with a lucidity and delicacy which looks forward to Debussy’s Violin Sonata of three decades later … the music’s Romanticism is never short-changed, but rather than powering through the big climaxes with muscle and full-throttle vibrato the pair simply give them room to unfold naturally, and the improvisatory freedom of the third movement seems to infuse the performance as a whole. Tiberghien’s passage-work throughout has a silvery clarity that wouldn’t be out of place in Haydn or Mozart, and the final movement unfurls with simple, almost folksy charm that’s utterly beguiling … Ibragimova and Tiberghien despatch it [the Vierne] with such flair, wit and affection that it’s difficult to fathom its comparative neglect’ (Presto Classical)» More

‘It’s reassuring to discover how well the Third Symphony still stands up, both musically and idealistically, in a far more cynical age. Martyn Brabbins and the BBC Scottish Symphony Orchestra, completing a cycle of Tippett symphonies they began last year with the First and Second, propel it with an almost confrontational sinewy intensity, with every texture crisply defined. Rachel Nicholls is the feisty soprano soloist in the finale … Hyperion offers a bonus with the first ever recording of Tippett’s Symphony in B flat, premiered in 1934 but withdrawn after a handful of performances, and not heard again until Brabbins revived it last year’ (The Guardian)» More

‘This winning Russian programme, one of high twentieth-century narrative, has everything going for it. Two charismatic artists at the top of their game relishing playing with and off each other. Two powerful Cello Sonatas. A frankly magnificent Steinway D. Demonstration production standards (Jonathan Allen). Visceral sound engineering of cutting clarity and 'airy' space capturing symphonic climax as much as poetic catharsis (David Hinitt). The sort of release that grips one's imagination right from the first seconds … a triumph’ (Classical Source)» More

‘The attractively sombre sound of Spanish ensemble El León de Oro, directed by Peter Phillips … this is thoughtful singing, with sensitivity to the texts … it’s a well-made showcase for key Renaissance composers’ (BBC Record Review)

‘They revel in the richness of the writing without getting glutinous. There's an attractive clarity and lightness to a lot of the playing … transparent recording as well’ (BBC Record Review)

‘Clein breathes fiery new life into Clarke’s brilliant Sonata … this effervescent release includes a scintillating rendering of Bridge’s masterful Cello Sonata, together with admirable performances of his Serenade, Spring Song, and Scherzo which are set alight by some impassioned playing from this outstanding duo … here is some high calibre cello and piano playing from highly-skilful, experienced hands and it certainly encapsulates a versatile and formidable chamber music tour de force’ (British Music Society Journal)