‘Its opening movement seethes and surges in Natalie Clein’s performance [of the Clarke], moving in sweeping arcs of emotion. The middle movement spits and snaps, and you feel the visceral rasp as Clein digs deep into the strings seeking maximum purchase. The huge tremolando crescendo in the finale has an elemental quality in Clein’s and pianist Christian Ihle Hadland’s hands … [Bridge’s Cello Sonata] draws particularly heartfelt playing from Clein and Hadland in the lingeringly regretful opening of the second movement’ (BBC Music Magazine)

‘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finale … Hyperion offers a bonus with the first ever recording of Tippett’s Symphony in B flat, premiered in 1934 but withdrawn after a handful of performances, and not heard again until Brabbins revived it last year’ (The Guardian)» More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)

‘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