‘The Hungarian-British Takács with Power, our finest native viola player … play the too rarely heard A flat quartet, Dvořák’s later masterwork of the genre, done con amore and empathy. This life-enhancing music is a tonic’ (The Sunday Times)

‘The three pieces of Estampes are similarly eloquently voiced, where 'La soirée dans Grenade' is suitably agitated, every change of mood unostentatiously communicated. Throughout the lighter Children’s Corner, the rhythms are beautifully delineated, the textures hyper-refined and the final 'Cake-walk' is unusually powerful … the recording captures most of Osborne’s huge dynamic range and there is excellent clarity and definition’ (Audiophile)

‘I’ve always loved the way Steven Osborne plays French music—for the flux and febrile atmosphere, yes, but more for the rigour and steel. Forget any cliches of hazy impressionism, Osborne brings directness and muscle’ (The Guardian)» More

‘The three pieces of Estampes are similarly eloquently voiced, where 'La soirée dans Grenade' is suitably agitated, every change of mood unostentatiously communicated. Throughout the lighter Children’s Corner, the rhythms are beautifully delineated, the textures hyper-refined and the final 'Cake-walk' is unusually powerful … the recording captures most of Osborne’s huge dynamic range and there is excellent clarity and definition’ (Audiophile)

‘I’ve always loved the way Steven Osborne plays French music—for the flux and febrile atmosphere, yes, but more for the rigour and steel. Forget any cliches of hazy impressionism, Osborne brings directness and muscle’ (The Guardian)» More

‘There is so much to enjoy in this superb collection of John Blow’s odes and instrumental music: fine solo and ensemble singing, beautifully articulated strings, crisp and tangy theorbos, punchy baroque guitar, all driven by the abundantly talented Jonathan Cohen at the harpsichord and chamber organ. Samuel Boden and Thomas Walker are perfect for the tenor/countertenor range of Blow’s vivid vocal lines, particularly in the sombre beauty of his lament on Purcell’s death. Special mention for Callum Thorpe, bass, who mines the lowest register down to a bottom D in 'Music’s the Cordial of a Troubled Breast', one of the many highlights of the ode Begin the Song!’ (The Guardian)

‘Osborne is immaculate, as passionate as precise’ (The Sunday Times)» More

‘Osborne is immaculate, as passionate as precise’ (The Sunday Times)» More

‘The marvelous sonic interplay of the Takács … sunny and expansive …a Bohemian fertility of sound that makes us relish the Takács' fluid ensemble, which would seem to include how much each of the musicians remains fascinated by his colleagues’ (Audiophile Audition, USA)» More

‘For many, getting to know these pieces will be persuasion enough, but the performances complete the seduction with their expert playing and singing, vigorous but tastefully realised sense of style and … firmly shaped contours and effective illustrative touches … with a recording that is wonderfully clear and alive, everything seems to be going right for Jonathan Cohen at present’ (Gramophone)

‘Here’s a neglected voice in 20th-century British music—and on the evidence of a growing library of Hyperion recordings, unfairly so’ (The Strad)» More

‘Osborne traverses this well-known repertory with obvious relish, relying on immense musical and technical resources to reveal fresh, unexpected perspectives on music we all thought we knew … this is music-making of great subtlety and finesse which neither lovers of Debussy and French music nor those who value piano-playing on the highest artistic level will want to miss’ (Gramophone)