‘David Hill produces a marvellous sound from his choir, beautifully tuned, beautifully balanced and with many truly exciting moments. Bruce Dickie is a totally authoritative player for the two Bassano pieces and two further Palestrina pieces; and Liuwe Tamminga plays with equal authority. These tracks are an unalloyed pleasure.’ (Gramophone)

'Leif Ove Andsnes en Marc-André Hamelin ontleden het werk met zo’n modernistische precisie dat je het er afwisselend heet en koud van krijgt. Al vanaf maat één vaagt hun vlijmscherpe vertolking de herinnering aan de orkestversie volledig weg. Aangevuld met een eloquent onderkoelde, technisch superieure lezing van het neoklassieke Concerto voor twee piano’s' (De Standaard, Belgium)

'Den barbarisk-perkussive musik fremstår her med brutal styrke og klarhed, men magisk nok uden at miste sine farver … og musikkens rytmiske forskydninger er eksplosive' (Politiken, Denmark)» More

«[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