‘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)

«Il fallait bien qu’Howard Shelley, baladant son piano dans le vaste domaine des concertos du premier Romantisme, lui consacrât un volume de sa collection Hypérion. C’est donc de Tasmanie que la résurrection de Potter commence enfin, et immédiatement le charme de sa musique, sa fantaisie, ses imaginations d’orchestre et de clavier captent l’attention … subtilement écrits, et finement joués par Howard Shelley qui fait son clavier brillant et son orchestre évocateur» (Artamag, France)» More

‘The Westminster Choir under Martin Baker give their all in gracefully phrased, controlled performances’ (The Sunday Times)» More

‘It is almost superfluous to write that Howard Shelley and the Tasmanian Symphony Orchestra give a remarkable performance of all three works on this disc. The recording is excellent, as expected from Hyperion’ (MusicWeb International)» More

‘This is the one to have’ (International Piano)» More

‘There is so much to cherish here, whether Stanford is punching the air or praying in quiet wonderment’ (BBC Music Magazine)» More

‘First impressions are that the new Hyperion now also joins a select but significant group of recordings of this symphony, a work with which I’ve been in love ever since I heard the Barbirolli recording on Pye. In case you think that the cover shot of the busy Thames, rather than the usual Monet of the Houses of Parliament seen through an impressionist mist, means that Brabbins skimps on the meditative aspects of the work, that certainly is not the case. None of his tempi are over-driven: mostly he takes a slightly airier view of the work than usual and the BBC SO support him with some wonderful playing, especially as heard in the 24-bit version.’ (MusicWeb International)

'Nolan delivers with tremendous ebullience, making a gloriously upbeat conclusion to this superb Widor series' (Gramophone)

«Cédric Tiberghien ne donne pas ici dans le tapage et la brutalité, mais plutôt de tirer de la force rythmique un élan qui emporte, certes, mais qui n’empêche pas la couleur et la forme … au-delà des pièces individuelles, il nous semble percevoir un souffle continu qui traverse l’ensemble du disque et qui invite à l’écouter d’une traite, comme un tout cohérent : n’y a-t-il pas une cohérence dans l’espèce de gradation qui mène de la première des Trois chansons du district de Csík à la Sonatine ? Une autre qui traverse le dernier rondo slovaque pour guider l’auditeur jusqu’à la fin de la troisième étude ? C’est aussi en cela que ce disque de Cédric Tiberghien (et ses comparses) est précieux : il invite non seulement à prêter l’oreille à Bartók dans la diversité de ses inspirations, mais aussi à rester avec lui» (Le Babillard, France)» More

‘A red-carpet recording from Hyperion provides all the necessary depth and plushness of sound’ (The Strad)» More