‘The Philharmonia produces a leaner, more transparent sound, captured ‘live’ with almost tactile precision and accuracy … the music’s distinct Russianness is experienced at a much deeper level this time around’ (BBC Music Magazine)

'Waarom deze muziek van de romantische componist Joseph Rheinberger (1839-1901) niet vaker op de lessenaars van symfonieorkesten staat is eigenlijk niet goed te begrijpen … Simon Callaghan speelt Rheinberger op deze Hyperion-cd met genegenheid … de samenwerking tussen solist en orkest is top. Ze vullen elkaar prachtig aan in hun respect voor deze zachtzinnig romantische muziek' (Luister, Netherlands)» More

'Dit album wil de artistieke parallellen verkennen, beter gezegd: de synergie, tussen de kerkmuziek en de albasten beeldhouwwerken in de late middeleeuwen … de zes mannen van The Binchois Consort zingen kristalzuiver, langs prachtig strakke en toch flexibele legatolijnen' (Luister, Netherlands)» More

‘Esfahani’s playing is colourful and magnetic, the fingerwork in the more virtuoso works absolutely clean and articulate. The mean-tone tuning gives the accidentals and chromatic outliers in the more harmonically meandering of the pieces a wonderfully piquant twang … robust, vital and exciting’ (Gramophone)

‘The BBC Symphony Chorus, prepared by its new director Neil Ferris, maintains its top-notch standard, singing with full tone, a wide range of dynamics, crisp attacks, and in general matching Walt Whitman's all-embracing poetry … credit is due also to Martyn Brabbins, in expert control of the work's internal balance and its dramatic pacing, and to the production team in Blackheath Concert Halls’ (BBC Music Magazine)

‘This new version of the Sea Symphony is exceptionally good. The very first thing about the recording is the marvellous opening sequence … everyone unfailingly pulls together, with the chorus in fine and very precise form. I very much like Mr Brabbins' drive and his pacing of all this music’ (British Music Society Journal)» More

‘Peter Phillips has been leading his ensemble for well over 30 years and his passion for the music is tireless. The Scholars' typically silky, seraphic sound is here given a more robust and visceral edge, thanks to boyish-toned sopranos (apt for music originally performed by an all-male ensemble), stout lower voices and muscular rhythms. Using just nine singers gives an intimacy to these readings and ensures clear-cut words and sharply delineated vocal lines. The vocal balance is sensitively judged, and Gimell's recording—in the Chapel of Merton College, Oxford—is lush without being overly splashy’ (BBC Music Magazine)» More

‘Isserlis approaches both main works expansively, getting his 1726 'Marquis de Corberon' Stradivarius to sing, project and fade with beauty, form and expression foremost. More than once one is struck by how paragraphs and episodes breathe, surge and cadence, rests and silences given potent tension; this is finely articulate cultured playing—ruminant poetry and reflective musicality, aristocratically suspended climaxes, carrying the argument free of ego or 'produced' theatre’ (Classical Source)» More

‘The quality of the singing and playing, and Hill’s pacing and control of the work in this sonorous and carefully recorded account, is of a very high order … any chance to hear Brahms’s great work sung by a superb choir, which this Yale group unquestionably is, cannot be sniffed at … the music-making is splendid and I am certain this is a disc to which I will return’ (MusicWeb International)» More

‘Once again we are indebted to Howard Shelley for his untiring efforts to unearth little-known composer/pianists from the footnotes of history … no praise can be high enough for Shelley’s technical command and beautiful tone … Dussek was not an also-ran—and the real value of this splendid release is that it amply demonstrates that’ (MusicWeb International)» More

«Kolesnikov se situerait quelque part au confluent de l’esprit de finesse de Christian Zacharias et de l’évidence qu’impose l’art de Stephen Kovacevich. Même un esprit critique aiguisé en arrive à rendre les armes en entendant des sons arriver ainsi de nulle part» (Le Devoir)» More

‘There’s much compelling music making afoot, not to mention Kolesnikov’s imaginative program building’ (Classics Today)» More