‘Why is it [Record Review’s] Disc of the Week? Well, it’s the sense of timeless, spacious majesty, the somehow ‘quiet grandeur’—and that’s not a contradiction here—that Brabbins achieves, surges of sound with an underlying sense of awe and mystery. The choral contributions are a match for the excellent orchestral playing, well balanced in a recording that somehow suggests there’s an infinite distance between us and the veiled horizon’ (BBC Record Review)

‘A wonderful evocation of Mass being celebrated by St Maximinus, painted in Hildegard's wonderfully perfumed language’ (BBC Record Review)

‘These moving and deeply considered accounts of Rachmaninov’s elusive Études-Tableaux are outstanding in every way. The disc constitutes an unmissable companion to Osborne’s two previous Hyperion discs of this composer … one ends up scratching one’s head trying to figure out how any pianist can seemingly observe each marking on the score with such care on the one hand and sound almost as though they’re playing ‘on the hoof’ on the other. This is an exceptional disc even by Steven Osborne’s impeccable standards. Do not miss it’ (MusicWeb International)» More

‘This version of the 1868 Brahms A German Requiem pares his otherwise monumental forces to a 33-voice choir supported by an instrumental octet, the result of arranger Iain Farrington’s having consulted the composer’s own piano-four-hands edition of the score. This chamber incarnation of this most intimately resigned of the Brahms compositions retains the piano in concert with those winds and strings that contribute to the work’s distinctive color … baritone Matt Sullivan addresses the individual’s relation to the transience of life and the anguish of existential doubt in the solemn, 'Herr, lehre doch mich' … the string quartet that accompanies the soprano entry of 'Ihr habt nun Traurigkeit' produces a luminous clarity as Natasha Schnur implores the Lord for comfort’ (Audiophile Audition, USA)» More

‘You need an expert choir and orchestra to pull off this mighty work and that’s what we have here. You also need a conductor who has a real feel for the drama and sweep of the music and Martyn Brabbins fits that bill admirably. In less than expert hands A Sea Symphony can appear to be a sprawling edifice but there’s never any danger of that here: Brabbins’ direction is taut and incisive but he also knows exactly when to be expansive—and to what degree’ (MusicWeb International)

‘Shelley is stylish and adept in the piano part, and he marshals the forces of the Ulster Orchestra well so that they play with great sensitivity. The recorded sound is well balanced’ (MusicWeb International)» More

‘Christopher Purves is a true stage animal, and that innate instinct carries over to his recordings, which are theatrical in the best possible way … under Purves’ assured touch even the basest of arias takes on a golden sheen’ (Limelight, Australia)» More

‘Unexpected tempos, but the atmosphere is unmistakable. Kolesnikov finds nocturnal quietude in the Moonlight Sonata, and his lucid, thoughtful approach pays off elsewhere too’ (BBC Music Magazine)

‘The choral singing itself is excellent. The 32-member Yale Schola Cantorum is full of young, vibrant voices, and they respond with alacrity and sensitivity to David Hill's vastly experienced direction … the two soloists match the choir in youthfulness and ardour’ (BBC Music Magazine)

‘The overall impression is that Bronsart was a composer with an eye for drama tempered by poeticism whose ink left the pen onto paper with active assurance, charismatically suggested by this lively, full-on and considered performance from Emmanuel Despax, attentively supported … there are no complaints regarding performances, production and annotation’ (Classical Source)» More

‘It’s hard to imagine [the Bronsart] being better played than by these forces, Emmanuel Despax displaying a wide range of colours combined with an easy virtuosity … [the finale] requires prodigious playing from soloist and orchestral musicians to make it sound as effortless as here, and that it does is tribute as much to conductor Eugene Tzigane as to Despax’ (Gramophone)

‘Even among Isserlis’s many fine discs, this one stands out. And if you still need convincing that the Chopin Cello Sonata is a total masterpiece, this is the recording to do it’ (Gramophone)