‘Only a handful of [Obrecht's] splendid works have been recorded before—and most on this disc are new to CD. Luckily, too, this recording benefits from the New Obrecht Collected Works and from the expert researches of Rob Wegman … the performers manage to give these ‘dark meanderings’ some shape and purpose with contrasts of mood (a reflective ‘Qui tollis’ and a lively ‘Et resurrexit’), vigorous interplay between the voices (the opening of the Gloria), and some surprising musica ficta harmonies (‘sepultus est’ from the end of ‘Et incarnatus’). They are at their most splendid in the motet O beate Basili … and in the soaring heights of the ‘o pia’ section of the Salve Regina’ (BBC Music Magazine)» More

‘Piers Lane, who brings his customary flair and lyrical refinement to the first two movements of Op 151, turns the Rondo finale into a brilliant tour de force that will delight even the sourest of atonalists’ (Gramophone)

‘Hough’s playing is utterly captivating and intensely intimate. He’s a magician, a tease, and a brilliant performer who creates an intoxicating dream world of pianistic expression … this fabulous CD is going to get a lot of play’ (The Whole Note, Canada)» More

‘This is a very beautifully planned complete Brahms … what I like about this particular one is [Graham Johnson's] focus on the Mediterranean Brahms, which is is probably the Brahms we know least’ (BBC Record Review)

‘Does it matter that many others have also recorded [D960] and others are waiting to record it in the future? I don’t think so, because the music is there to be played and this recording will enter the great catalogue of Schubert recordings to give pleasure to listeners … there’s an eloquence and sensitivity in Hamelin’s approach to this music which is satisfying and committed’ (The Cross-Eyed Pianist)

‘The biggest gain is Roderick Williams's fabulous delivery and his beautiful, creamy voice—which I can never get too much of—supported beautifully again by Christopher Glynn … musically it's great … [Jeremy Sams] has done an extremely good job of a very, very challenging task … I salute him for his courage’ (BBC Record Review)

‘[Louis Couperin] receives deserved attention on this revelatory release from Pavel Kolesnikov. The format and structure of his programme is, itself, an inspired achievement … Kolesnikov’s performances transcend genre, tradition or repertoire … his innate responses to these twenty-two pieces will surely be of interest to anybody sensitive to music’s expressive capacities.’ (Classical Source)» More

‘The soloists are brilliant throughout—appealing voices, dead-center pitch, superb Baroque style, crisp diction … a well-filled CD of three not-so-similar treatments by the Bach family. Very highly recommended’ (Classics Today)» More

‘A remarkable sense of assurance with consistently high-quality one-to-a-part singing … Hyperion has found a superb ensemble in Gesualdo Six’ (Classical Source)» More

‘A remarkable sense of assurance with consistently high-quality one-to-a-part singing … Hyperion has found a superb ensemble in Gesualdo Six’ (Classical Source)» More

‘It’s the two glorious performers, though, who have really made this series essential. Alina Ibragimova’s … wiry, athletic leaps and puckered notes bring zestful life to every bar. Cédric Tiberghien’s piano, thrusting along, rhythms crisp, is more galvanising still, in keeping with the sonatas’ beginnings as keyboard sonatas with violin decorations. The repertoire swings between the youthful and the mature, and includes a charming variation set and the K570 piano sonata, laced up with a violin part added by rogue hands. I loved it all’ (The Times)» More

‘In these Tippett symphonies [Brabbins] shows a firm grasp of the overall structure, clear articulation of the details and a good sense of balance across the orchestral forces … this is an auspicious start to the new cycle’ (MusicWeb International)» More