‘The Royal String Quartet deliver this music [No 1] with a full-on level of intensity, culminating in a suitably manic and explosive ending … again, the Royal String Quartet takes no prisoners in its forthright and unfettered approach to the drama of the score [No 2] … a compelling and immensely detailed performance [of No 3] which is very well captured by this excellent recording’ (MusicWeb International)» More

‘The Canadian virtuoso brings all her characteristic crisp intelligence, poetry and judgment to bear as the Allegro [of the 'Tempest' Sonata] unfolds. Those qualities are everywhere apparent over the next hour or so … Hewitt continues to make a persuasive case for her survey’ (Limelight, Australia)» More

‘This Hyperion release contains the greatest performance of Ralph Vaughan Williams’s Sea Symphony I have ever heard, live or recorded, an account comprehensively impressive on every level … throughout, Brabbins is inspiring and profoundly insightful, and any lover of Vaughan Williams’s music must add this disc to their collection’ (Classical Source)» More

‘Pavel Kolesnikov is an artist who likes to surprise and to delve into the more forgotten corners of the repertoire: who would have thought he’d follow his compelling Louis Couperin disc with Beethoven? And a disc on which the Moonlight Sonata features? But that is in a way a red herring, for he begins in much more obscure territory with four rarities, which are delightful. He conveys the jokiness of the second piece … without labouring the point, while the fourth contrasts a quiet playfulness, sudden outbreaks of ire and an otherworldly dreaminess. This links perfectly to Op 27 No 2, Kolesnikov’s sound nicely haloed in the whispered opening movement … the finale, beautifully pedalled, is suitably agitated and taken at a fearless speed … Hyperion has given Kolesnikov a beautifully natural recording, plus engaging notes from Richard Wigmore’ (Gramophone)

‘Much of the choral work is as hushed and haunting as any on disc. David Hill’s instincts are sound, especially in the Requiem’s outer pillars and its keystone, ‘How lovely are thy dwellings’’ (Gramophone)

‘Shelley handles the often intricate solo parts of these concertos with characteristic aplomb and stylishness. The theme and variations of the Andantino of the Op 3 Concerto in E flat, the military inflections of the Op 14 Concerto in F and the ‘Turkish’ Rondo of the G minor Concerto are particularly appealing. Dussek wrote little orchestral music beyond his concertos but the sympathetic collaboration of the Ulster Orchestra showcases the increasing subtlety and sophistication of his handling of the orchestra … a welcome addition to the library of anyone interested in the fertile territory of late 18th- and early 19th-century piano music’ (Gramophone)

‘Ian Page and his crack team—singers and players—are clearly having a lot of fun, which comes across in this excellent recording. It’s a treat to experience these faint anticipations of greatness in such winning performances’ (Gramophone)

‘As the title-work—a luminous and enticing if understated setting of Jessica Powers—demonstrates, her writing for voices is always fluent and idiomatic … a pleasurable disc’ (Gramophone)

‘It is inconceivable that these pieces could be performed better; the choral sound is sumptuous, the detail immaculately nurtured by Stephen Layton and the absolute precision of pitching and balancing a joy to behold … there is enough of real musical quality and individuality here to make one suspect that Owain Park is no mere one-minute wonder but a composer who is going to make a very distinct mark on the British choral tradition’ (Gramophone)

‘The music-making has the flair and authority you’d expect … Ashkenazy ensures that the (deliberately?) episodic finale of the Third Symphony retains suitably compulsive drive and snap where necessary. The coda is thrilling’ (Gramophone)

‘Given its rhythmic complexity, performing the work without a conductor can be tricky, but the ensemble is superbly taut here, exacting yet fierce in its precision and clarity. None of the players attempts to hog the limelight and their bravura solos, all impeccably done, are seamlessly integrated into the whole … it all adds up to a wholly admirable interpretation, serious, hard-hitting and provocative’ (Gramophone)

‘Nolan spins through the more bravura passages [in the Reubke Sonata] with a fiery brilliance, bringing this compelling disc to a triumphant conclusion. With helpful notes from Ateş Orga, this release is a wonderful accomplishment’ (Gramophone)