‘What Hamelin has in his favour is an unwavering focus on the dense wave of Feldman’s rhythmic grid, and a studio recording as softly tangible as fine silk’ (Pianist)» More

‘Song-lovers will enjoy hearing familiar words afresh … a completely original, vastly underappreciated musical voice’ (BBC Music Magazine)» More

‘The Orlando Consort sings with a superb blend of sophisticated delivery and sweetness, with a gentleness that results in a whole, not a collection of colliding tropes … there is something satisfying and appealing about the way in which these four singers leave us with a sense of how important spontaneity is … The Orlando Consort respects the fact that he wrote from the heart, and only secondarily in any particular ‘genre’’ (MusicWeb International)» More

‘The warmth and fluency of Howard Shelley’s playing presents the music in the strongest possible light’ (BBC Music Magazine)» More

‘With each subsequent hearing (I have listened to the disc five times now) my enjoyment has increased exponentially. There are some lovely lyrical ideas (the second subject of No 2’s first movement, for instance) and a string of others that are engagingly capricious. I am already rather fond of them. They certainly make fascinating and worthwhile additions to the Hyperion series’ (Gramophone)

‘This treble sound is, well, nothing less than ‘ethereal’; I can’t come up with a more appropriate word. Nor can I for the rest of the music on this unforgettable program. The Mass, which the notes aptly describe as a ‘masterpiece’ whose plainchant model is unknown, deserves all the attention it can get—as does this recording, a masterpiece itself, the finest I’ve heard from this choir’ (Classics Today)» More

‘Westminster pair Media vita with two other six-voice works by Sheppard: the Marian motet Gaude, gaude, gaude Maria and the Missa Cantate. In the generous acoustic of All Hallows, Gospel Oak, the contrapuntal intricacies of both emerge clearly, never lost in Sheppard’s carefully spaced vocal textures. It’s quite possible that 2017 marks Sheppard’s 500th anniversary year. It’s hard to think of a better birthday present than this outstanding recording of three of his finest works’ (Gramophone)

‘This CD is a fine tribute to Stanford’ (Choir & Organ)» More

‘Nicky Spence is superb … he deals heroically with Strauss’s more outrageous demands and, perhaps most importantly, he has just the right interpretative keenness and enthusiasm to put a persuasive case for everything he sings here’ (Gramophone)

‘The sound, recorded in the Royal Concert Hall, Glasgow during January last year is excellent, especially as auditioned as high resolution 24-bit flacs. This is an astonishingly fine release of music which will continue to enthral over and over again, each successive listening revealing more of Nenov’s genius. This will surely be one of my recordings of the year’ (Audiophile Audition, USA)» More

‘Nenov’s epic, craggy Piano Concerto is an extraordinary work, containing huge swathes of music which genuinely sound like nothing you've ever heard … buy this and hope that Varbanov will exhume more of Nenov’s music’ (TheArtsDesk.com)» More

‘Diminutive Cipriani Potter ('Little Chip' to his chums) was an early 19th-century British star of the keyboard, introducing London audiences to the piano concertos of Mozart and Beethoven and writing four of his own, plus nine symphonies—but who knows his name today? Howard Shelley does him proud in this effervescent recording of two Potter concertos, one a semi-homage to Mozart, the other a much broader and more expansive corker. Shelley adds a Rossini-themed showpiece for good measure, while all the while directing the sprightly Tasmanian Symphony Orchestra. Another gem from Hyperion’s Romantic piano concerto series’ (The Guardian)