‘Tiberghien’s quasi-improvisatory approach works marvellously with works which would otherwise risk sounding directionless and self-indulgent. His range is breathtaking, carefully terraced even in the thickest of textures, never harsh, abrupt, metronomic or bombastic, even when rumbling in the murkiest depths of the piano’s range’ (BBC Music Magazine)

‘Tiberghien’s playing in these late works may be the most beautiful you have ever heard’ (The Whole Note, Canada)» More

„Der künstlerische Ernst, mit dem er einige dieser letzten Klavierwerke Liszts sowie den dritten Band der „L’Années de pèlerinage“ angeht, das feine Klangsensorium, das er für diese Musik entwickelt, überzeugt, ja begeistert in jedem Takt“ (Musik & Theater, Switzerland)

‘This appealing collection of love songs is an apt celebration, plucking tracks from five different albums by the group recorded during the last ten years … beautifully performed and with an appealing blend of popular hits and more unusual fare, this disc makes for an uplifting listen’ (BBC Music Magazine)

‘There is a great deal to delight the listener, particularly in the First Piano Trio in E minor of 1877 … the Leonore Piano Trio's winsome performance of this engaging movement [the second] is what has made me return with pleasure to this altogether attractive work … [No 3's] subtle, reflective and sometimes wistful style grows on one with repeated listening. The Leonore Piano Trio play the work with affection, as does their violinist Benjamin Nabarro and pianist Tim Horton the Partita in D minor’ (BBC Music Magazine)» More

‘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