‘It is the Hyperion team who time and again demonstrate that a more intimate approach works wonders in capturing the essence of these exquisitely melodious and immaculately structured scores … the exquisite finesse of this cherishable team put them in a class apart’ (BBC Music Magazine)» More

‘Her gossamer touch makes Scarlatti's rapid passagework and figurations sound light as summer rain, while his fiddly embellishments sparkle and shimmer’ (BBC Music Magazine)» More

'Remarkable interpretations … a beautifully constructed programme, sung with consummate assurance and self-effacing artistry' (BBC Music Magazine)» More

‘We have long needed a first-class, user-friendly collection of sacred Stanford. Now we have one’ (Limelight, Australia)» More

‘The performances by this star cast of singers are impeccable. Great stuff’ (BBC Music Magazine)» More

'Guy Johnston’s cello was built in Rome in 1714 by the Bavarian-born David Tecchler. To commemorate its 300th birthday, the 36-year-old English cellist devised an autobiographical programme that traces this particular instrument back to its Roman roots … this is an enjoyable excursion and documents Johnston’s versatility' (Gramophone)

‘A superbly involving account of Vaughan Williams’s A London Symphony … above all, Brabbins exhibits a very real love for this remarkable score, whose wealth of memorable invention, generosity of spirit and kaleidoscopic range of mood combine to make the composer’s initial printed thoughts such a feast for both head and heart … essential listening for all RVW devotees’ (Gramophone)

‘The present issue belongs at or near the top of the Vaughan Williams Christmas list. Ever since 2011, when he collaborated with Lawrence Power in beautifully wrought renditions of Flos Campi and the Suite for Viola (also Hyperion), Brabbins has proved himself an unfailingly sensitive interpreter of the composer’ (Classical Source)» More

‘In an age awash with soulless automata masquerading as pianists, violinists and the like, it is always a pleasure to listen to Cédric Tiberghien … the recital ends with a wonderfully quixotic account of the Op 31 Scherzo that Moriz Rosenthal would surely have been at ease with, which is all you can ask for’ (Audiophile)

‘Brabbins’s fabulously assured reading … the fill-ups are fascinating, too’ (The Guardian)» More

‘These are quite stunning interpretations from Osborne that feel entirely instinctive yet are gloriously refined … one of the finest recital albums I have heard for some time’ (MusicWeb International)» More

‘These are quite stunning interpretations from Osborne that feel entirely instinctive yet are gloriously refined … one of the finest recital albums I have heard for some time’ (MusicWeb International)» More