‘I confess I hadn’t previously thought of the French pianist Cédric Tiberghien as a Lisztian, but I do now … Tiberghien evokes the play of the waters within Liszt’s virtuosic writing with impressive economy. Throughout this recital you’re never aware of the technical difficulties or display for its own sake; the music and the colours come first, especially impressive in the strangely unsettling world of the ‘Bagatelle without tonality’ that opens the recital, and in Tiberghien’s desolate depiction of a Venetian funeral gondola. Seriously classy Liszt, encompassed by a recording that allows every detail of Tiberghien’s playing to resonate’ (BBC Record Review)

‘Clein wields her cello with subtlety—hear the transcendent delicacy that finishes the first movement [of the Clarke], or the exquisitely impassioned intensity of the finale … this is a charming disc with a folky, salon feel at times. If Bridge’s music pales somewhat against that of the more complex textures of the Clarke or the refined elegant lines of the Vaughan Williams, Clein’s heartfelt advocacy makes it a satisfying listen all round’ (Limelight, Australia)» More

‘It's more than good to see all these excellent, affluent-toned recordings getting a refreshed shot in the arm. They were mostly taken down in 2004 and 2005 and very happily first issued by Hyperion in 2007-2008. They're so much more desirable than the mere fact that there is no like-for-like competition and that all four discs are now to be had at a very accessible price’ (MusicWeb International)» More

„Ein tolles Album!“ (Concerti, Germany)» More

‘Well worth hearing in these persuasive performances’ (MusicWeb International)

‘Esfahani keeps a tight rein on the thrillingly vigorous strains in these pieces so that they do not run wild but come off with quiet bravado … it is the vitality and integrity of Esfahani’s performances, which are very well recorded, that stand out in bringing this ancient music to life’ (Classical Source)» More

‘Sometimes I just want to hear Haydn beautifully played, with the appropriate period manners, with as little adumbration as possible—and that’s where the LHQ have undoubtedly scored … those readers who have been collecting this series will know exactly what they’re going to get from the London Haydn Quartet—a cultivated, really unshowy group who prioritise Haydn’s music above any superficial glitter’ (MusicWeb International)» More

‘This is a richly rewarding disc which I enjoyed from start to finish. The playing of the members of the Leonore Piano Trio is expert and highly committed. This is very worthwhile music anyway but they make the best possible case for it. The recorded sound is excellent, as are Jeremy Dibble’s notes. I believe that a recording of Parry’s Second Piano Trio will be forthcoming from these artists in due course. I look forward to that very much’ (MusicWeb International)» More

‘To sum up my reactions to this latest issue in the Liszt cycle: it is a fascinating disc with some of the best of his songs in, very often, extremely beautiful readings and with a willingness to penetrate the dramatic possibilities that is praiseworthy. There is a freshness of approach that is stimulating, Julius Drake accompanies in a manner that Liszt himself would have admired—and there isn’t a dull phrase in the whole recital. And we shouldn’t forget Susan Youens’s excellent liner notes. As usual they add a lot to the enjoyment of the individual songs. This series certainly goes from strength to strength’ (MusicWeb International)» More

‘There are strong kinships with the scores of Brahms, Mendelssohn and Schumann. Plenty of passion too, as the opening of the E minor Piano Trio demonstrates—no English reserve here as emotional drive and sensitive asides vie with one another, locked into a concise first-movement symphonic design, played with conviction and oneness by the Leonore members, excellently recorded … all in all, an enlightening release’ (Classical Source)» More

‘Few cellists can mould a line with such attention to both light and shade … for a performance that distils the sweetness at the music’s heart, this is the one’ (The Telegraph)» More

‘In the Shostakovich Cello Sonata, Isserlis provides the lyrical narrative. He’s the storyteller—whispering, coaxing, singing and soaring—with Mustonen providing the turbulent counterpoint … playing with great gentleness and delicacy one moment, before an eruption of glittering notes propelled with a febrile intensity that reminds me of Shostakovich himself at the piano. It’s a fascinating partnership and, I think, a hugely rewarding performance … such a tremendous account … an intimately truthful recording as well … it’s my Recording of the Week’ (BBC Record Review)