‘The main work here is the vast and astonishing G Major Quartet. Composed in 1826, it is close kin to the Quintet in C, D956, having the same expansiveness, the same three key-area first movement exposition, and speaking things utterly new to the language of chamber music—like the unearthly crescendos on long notes, and the Brucknerian tremolos played, seemingly, on a single hair of the bow. You sense, to paraphrase Stefan George's Rapture, that you really are feeling the air of a different planet. The Takács foursome make the whole piece interesting, similarly the early B flat quartet, with a welcome unanimity of gesture and attack. Excellent sound’ (The Absolute Sound, USA)

‘From her opening note in Sibelius’s Violin Concerto, the Dutch violinist … grabs our ears and never lets them go. She is anguished and ardent, gutsy and tender, or whatever else the music requires, with every emotional inflection firmly embedded in the composer’s long singing lines’ (The Times)

‘So impressive. Janine Jansen essentially strips these pieces of all the years of what one might call ‘performance adornment’ and takes them back to their elemental roots. From Mäkelä and the Oslo Philharmonic the shimmer at the start of the Sibelius is a frosty haze that you can see rather than hear and from the moment Jansen starts into her ariosa the intensity of her almost painfully true intonation fixes you with its unflinching belief’ (Gramophone)

‘Newcomer pianist Mishka Rushdie Momen touches on various topics in her notes for this 2024 release, which made classical best-seller lists … every interpretation is well considered, and there is never any feeling that one is hearing a Romantic vision of the English (and Dutch) Renaissance. A wonderful outing from a pianist whom listeners are likely to get to know better’ (AllMusic, USA)

‘Marc-André Hamelin powers through this tour de force [the Giga, bolero e variazione] in under four minutes—one of the miracles of the recorded repertoire’ (The Spectator)

‘There are surely no more charismatic young performers in this country today than violinist Nicola Benedetti, cellist Sheku Kanneh-Mason and pianist Benjamin Grosvenor, and together they make a stellar team, bursting with energy and expressive precision’ (BBC Music Magazine)

‘This is a remarkable feat that demands to be heard’ (BBC Music Magazine)» More

'Griegin sarja Hollbergin ajoilta on alun perin pianoteos, vaikka se tunnetaan paremmin säveltäjän versiona jousiorkesterille. Andrei Gugnin tunkeutuu norjalaiseen sielun- ja vuonomaisemaan virtuoosisesti virittyneenä ja romanttisesti latautuneena. Näytelmäkirjailija Ludwig Hollbergin vanhoja hyviä aikoja 1700-luvulla muisteleva sarja kuulostaa tässä aidosti pianistiselta ja nostalgiselta, paikoin sentimentaaliseltakin' (Rondo Classic, Finland)

‘Australia’s foremost pianist Piers Lane is a busy man … his extensive catalogue of albums for Hyperion is being expanded with the release of this magical collection of Russian variations on folk tunes from four composers … Rachmaninov’s Variations on a theme of Chopin need little introduction. In just under 30 minutes, he squeezes the pips out of Chopin’s C minor Prelude No 20. Lane’s performance here, as elsewhere on this superb disc, is exemplary’ (Limelight, Australia)» More

‘The performances are gorgeous, as usual, from The Gesualdo Six, and Hyperion's sound from St George's Church, Chesterton, Cambridge, adds beautiful layering. This altogether compelling Renaissance release hit classical best-seller charts in the summer of 2024’ (AllMusic, USA)

‘The [Takács Quartet's] defining qualities—fire, poetry, clarity, balance—never change. The principal work on their latest release is Schubert's String Quartet No 15—one of his most grandiose. It's spellbinding from the opening, when a tussle between major and minor keys gives way to a calm landscape pre-echoing passages in Bruckner symphonies. Schubert springs surprises, but the Takács players take everything in their stride’ (The Times)

‘This release is a standout … another draw is Hyperion's sound from the Wyastone Estate Concert Hall, a flawlessly appropriate venue. This is wonderful Schubert by any standard, but what is most compelling is that the Takács Quartet, at it since the late '80s, continues to think and to learn’ (AllMusic, USA)