'A persuasive souvenir of his music-making' (Gramophone)

‘Angela Hewitt has chosen 17 of Domenico Scarlatti’s super-abundant keyboard sonatas (he wrote more than 550) to create a second engaging recital following her 2015 volume. Again, she has cleverly organised her selection into satisfying subgroups linked by key and mood’ (The Observer)» More

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

‘The Iberian firecracker elements are naturally present and correct: the dazzling K24 in A major, with its whizzing scales and percussive repetitions, is full of Spanish verve. But she also finds melancholy and bittersweet notes … and she does a wonderful job creating concerto-ripieno effects in some of the grander sonatas. Her programme notes are illuminating too’ (Pianist)» More

'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