‘James O'Donnell and the Westminster singers really understand this music and make a fine case for Ludford being a true (if neglected) master of polyphony … their greatest skill is shown in their handling of the intricacies of the Videte mass, with its ecstatic running exchanges at 'Domine Deus' in the Gloria and the ethereal visions of the Agnus Dei’ (BBC Music Magazine)

‘If ever a Mozart recording were self-recommending, this is it. The first four volumes of the French-Russian duo’s complete sonata cycle came close to my Mozartian ideal. This final instalment, again juxtaposing early, middle and late works, fulfils every expectation … 'a set that will surely become the modern reference recording' wrote David Threasher after Vol 4, a claim I would enthusiastically endorse after this superlative final volume’ (Gramophone)

‘The two-piano transcription is arguably as exhilarating as the full orchestration, and Andsnes and Hamelin offer a reading that is in turns thrilling, unsettling and beautiful … captured in detail via the superior sound recording’ (BBC Music Magazine)» More

‘Any thoughts that these arrangements, even though they are made by the composer, might lack for colour and vibrancy, are disarmed by Ohlsson’s wonderful artistry … a recital that is in many ways a revelation and with numerous calls on the attention’ (Classical Source)» More

'El director Stephen Rice … ha confegit un repertori bellíssim que s’adequa perfectament amb el vitalisme de les veus del The Brabant Ensemble. Aquesta és una interpretació magistral de peces sagrades, eternes, immortals de suggeriments infinits. L’estil del conjunt vocal és incomparable I inobjectable' (Sonograma, Catalonia)» More

‘The performances here are lovely: flowing, well balanced, and emotionally generous but never self-indulgent. Special guest violist Lawrence Power blends perfectly with his colleagues, and cellist András Fejér deserves special mention for clarifying Brahms always critically important bass lines … Hyperion’s engineering is very fine. If you’re in the market for these works apart from the larger Brahms chamber music boxes, you can hardly do better than this release’ (Classics Today)» More

‘The truth about these late works of Feldman is that there are very few poor performances on disc because, first, the music leaves little room for interpretation in the conventional sense, and second, no one attempts them unless they really know what they are doing. Hamelin certainly knows. Hyperion’s excellent sonics suit the piece beautifully’ (Classics Today)» More

‘It’s the clarity of touch, and the honed rendering of Chopin’s bustling textures, which make Tiberghien’s Préludes worth the time … the final work, the B Flat Minor Scherzo Op 31, is a perfect summation of the whole program: lyricism, drama, frenzy, and charm, which Tiberghien carries off with elegance and consummate artistry’ (Limelight, Australia)» More

‘A recording which achieves an ideal balance between scholarship and direct emotional impact … the 28 players and 19 voices listed as constituting Arcangelo sound for all the world here as if they are at least double that number, so full and robust a sound they all make in the excellent recording’ (MusicWeb International)» More

‘Hyperion is to be congratulated on such a fine production, as is David Hill and his musicians’ (MusicWeb International)» More

‘Stephen Layton brings everything together expertly. I thought his tempo selections consistently felt ‘right’. His preparation of the choir has clearly been scrupulous and detailed yet, just as significantly, he has imbued them with the spirit of the music so that the joy and the profundity of Bach’s music comes across in equal measure. The catalogue contains many fine versions of the B minor Mass … this is one of the freshest and most enjoyable’ (MusicWeb International)» More

‘This is a decidedly Beckettian Winterreise, subtly pushed to the edge by Vignoles’s pianism—the neutral pace he sets of ‘Gute Nacht’ is just one instance of the skill with which he keeps things in reserve, so that there is a constant frisson of the unexpected, and throughout he cajoles and comforts the singer while exposing the reality behind the lover’s increasingly desperate hallucinations. Between the two of them, Boesch and Vignoles manage to keep a purchase on the cycle that is both unaffected and extraordinarily sophisticated’ (Classical Source)» More