«[Howard Shelley] les joue avec une imagination certaine, réglant de son piano où des personnages paraissent, où se nouent des intrigues, un orchestre qu’il équilibre avec subtilité, si bien que ce premier Romantisme s’anime, incroyablement présent, si séduisant. Disque magnifique qui rend justice à un vrai maître» (Artamag, France)» More

‘Hough captures every bit of [La plus que lente's] lazy, sensuous languor, just as his account of L’isle joyeuse bristles with superbly controlled energy, while those of the two series of Images draw on a fabulous palette of keyboard colour’ (The Guardian)

„Hochkontrolliert und technisch brillant gespielt, erlaubt sie einen Blick auf die strukturelle Essenz der monströsen Partitur. Zugleich wird alles andere als eine trockene Studie daraus. Die Pianisten treiben den Klang ihrer Flügel in gestochener, federnder Rhythmik mit meist gläsern klarem Anschlag zu farbexplosiven Höhepunkten. Die atavistisch stampfenden Brutalismen der 'Danse Sacrale' am Ende des Stücks klingen in dieser kristallinen Klarheit härter und nackter als in jeder Orchestereinspielung“ (Süddeutsche Zeitung, Germany)» More

‘Their combined assault in the 'Glorification of the Chosen One' and the 'Sacrificial Dance' left me gasping for breath. Really, I can’t imagine this piece played with more authority and skill than it is here … enough energy to launch a Saturn V; a stellar release’ (MusicWeb International)» More

‘It's a thrilling performance with an implacable accuracy and energy that carries all before it … a tautness and dynamism that's implacably propulsive … the recorded sound is as vivid as the playing … I think the finest reading of the Concerto for two solo pianos I've heard on record’ (BBC Record Review)

‘Each Magnificat is different in length, tone and emphasis, although with enough common echoes to underline the family tree and the sense of musical history progressing. That’s one reason to buy the album. The other is the unfettered vivacity of Jonathan Cohen’s group Arcangelo. These are no shrinking violets. The soprano Joélle Harvey’s voice is sturdy as a pillar, painted gold. The baritone Thomas E Bauer’s theatrical flourish adds extra spice to Carl Philipp Emanuel’s setting, which is zesty already. Eloquence oozes from the counter-tenor Iestyn Davies, while the instrumental corps bustle away through tumbling arpeggios and racing counterpoint. All delightful, all life-giving’ (The Times)» More

‘Even if you already have a favourite recording of the JS Bach, this one will knock your socks off with its combination of virtuosity, stylishness and commitment; the added attraction of the settings by Johann Christian and Carl Philipp Emanuel make it very special indeed. Whether for the individual pieces or the unique and endlessly absorbing coupling, this disc is a sure-fire winner, and a brilliant addition to Arcangelo’s growing discography on Hyperion’ (The Europadisc Review)» More

‘Their take on the music is glittering, sharp-edged, pulsing with adrenaline … this is playing that pushes at the limits of what is physically possible’ (Financial Times)» More

«Si la majorité des versions orchestrales avaient cette logique, cette articulation, cette hargne, cette construction et cette tenue, la discographie serait jouissive ! … ce programme Stravinski à deux pianos est parfait … c’est assurément le seul [enregistrement] bénéficiant d’une lecture aussi nette, nuancée et implacable sur des pianos aussi parfaits et parfaitement enregistrés» (Le Devoir)» More

‘Cohen drives uplifting, beautifully phrased performances, with crisp playing and … fine singing from Arcangelo. Even if you already have JS Bach’s Magnificat on disc, you’ll discover you need this too’ (The Guardian)

‘Grand authority and lithe ebullience, sweeping effortlessly from verse to verse with considerable purpose … an illuminated Bachian constellation of three canticles colliding in captivating relief’ (Gramophone)

‘When composer Thomas Morley urged performers to draw listeners 'in chains of gold', he might well have been reviewing this recording … these performances glimmer with all the yearning, devoutness, and splendour of the age’ (BBC Music Magazine)» More