‘In short, this release attests to Hewitt’s deep affinity for Scarlatti, her exemplary musicianship and her gifts as a programme-builder’ (Gramophone)

'A clever mixture of moods—a disc that takes the part-song into the 21st century not only in repertoire but also in style' (Gramophone)

‘The final instalment of a magnificent and never predictable Strauss series … three cheers to Hyperion’ (BBC Music Magazine)» More

'There are fine things here … best of all, perhaps, is James Gilchrist, whose wonderful way with words enables him to encompass the bitter humour of ‘Chapels’, the sweetness of ‘Grantchester’ and the dark lyricism of ‘The sunlight on the garden’ … Ian Buckle and Anna Markland are the exemplary pianists' (Gramophone)

‘The excellence of this, the fourth in the series, makes me wish I hadn’t missed the previous three’ (The Sunday Times)» More

‘His storytelling and emotional response to what Schubert called his 'terrifying songs' are masterly and compelling’ (The Sunday Times)» More

‘The very first notes of the 1st Concerto have a terrific energy, as does the virtuoso passage-work that follows, but Isserlis is too much of a romantic to focus exclusively on the sunny side of the music. He limns the graceful melody of the slow movement with a hint of pathos, and gives the operatic flourishes of the 2nd Concerto a real vocal expressivity’ (The Telegraph)» More

‘Three cheers for this enterprising successor to Hyperion’s superb coupling devoted to the two piano concertos by the Scottish progressive Erik Chisholm (1904-65) … benefiting from impeccable production values throughout, this absorbing release deserves a hearty welcome’ (Gramophone)

‘Performances and recordings are everything one could wish, and it all adds up to another winner within Hyperion's ever-enterprising Romantic Piano Concerto series’ (Classical Ear)» More

‘The main selling point is the two Haydn concertos, and this album is worth acquiring whether you’re yet to own a recording of these masterpieces or your collection is already bulging with them. Isserlis’s 1998 recording remains classy stuff, but this has superbly trumped it’ (Gramophone)

‘To describe these performances as ‘perfect’ could be considered glib; but there is a specific ‘rightness’ to just about everything you hear … the whole enterprise is near-impossible to fault. Six sonatas left now to complete the cycle, a set that will surely become the modern reference recording’ (Gramophone)

‘There’s no question that this is Lieder performance, from both Boesch and Vignoles, at the very highest level of sophistication and accomplishment, and a fascinating, thought-provoking listen’ (Gramophone)