‘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)

‘Steven Osborne has produced a recording that at its finest is truly mesmerising’ (BBC Music Magazine)» 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)

‘Steven Osborne has produced a recording that at its finest is truly mesmerising’ (BBC Music Magazine)» More

‘The pairing of the Takács Quartet and viola player Lawrence Power has already proved a winning one in Brahms and the results are no less seductive in Dvořák … an entrancing disc’ (Gramophone)

‘Delicious’ (The Strad)» More

'The last instalment in John Eliot Gardiner’s bracing Mendelssohn cycle with the London Symphony Orchestra marks up a significant success … a splendid way to conclude Gardiner’s splendid cycle' (Gramophone)

'Quite wonderful … this is minor Mozart, done supremely well' (Gramophone)

‘It is hard to imagine more vital, committed or persuasive performances than these’ (The Strad)» More

‘Howard Shelley, who conducts his regular partners-in-crime the Tasmanian Symphony Orchestra from the keyboard, is a marvellous guide in this repertoire and the Hyperion recording is resplendent, with tangible depth and presence. Shelley truly gets inside each of these pieces (in both roles) and convinces this listener at least of an uncommon originality at work, particularly for an English composer of this period’ (MusicWeb International)» More