‘The orchestral accompaniment is alert and the recording is clear rather than sumptuous. Danny Driver is the athletic and totally capable soloist in what is a most desirable, well filled CD’ (MusicWeb International)» More

‘The boy choristers … grasp their moment with a confident display of crystalline tonal quality, an informed awareness of textual meaning, and the ability to vary dynamics convincingly’ (BBC Music Magazine)» More

‘When it comes to the 1881 Second String Quartet, of course, we're in the presence of heaven-sent genius—a wholly mature utterance that never fails to captivate in its melodic fecundity, exquisite craftsmanship and freshness of inspiration’ (Classical Ear)» More

‘[A] finely crafted quartet, elegantly played here by the Goldners’ (The Observer)» More

‘Hamelin exhibits colossal technique and vitality in two Russian concertos … the gorgeous sound of Hamelin’s Steinway has been captured … in warm, clear tones by master recording engineer Simon Eadon’ (Audiophile Audition, USA)» More

‘I have to admit to being a fan of Angela Hewitt’s, and as with her recording of 'The Art of Fugue' this humble reviewer’s 'Goldberg Variations' went on a wish list straight away and is not a review copy. You would hardly expect me to be critical, but there is always a chance one might leave oneself open to disappointment. In this case, my inner smile has been set to ‘warm glow’ since Christmas’ (MusicWeb International)» More

‘I have to admit to being a fan of Angela Hewitt’s, and as with her recording of 'The Art of Fugue' this humble reviewer’s 'Goldberg Variations' went on a wish list straight away and is not a review copy. You would hardly expect me to be critical, but there is always a chance one might leave oneself open to disappointment. In this case, my inner smile has been set to ‘warm glow’ since Christmas’ (MusicWeb International)» More

‘This is an informative survey of the roots of English polyphony … a fair proportion of the works here are simply not available elsewhere’ (Early Music Review)» More

‘Tracks like Rachmaninov’s Vocalise are sublime, though the most effective of the smoochy Russian tracks is the Adagio from Prokofiev’s Cinderella, and Gerhardt throws in a ravishing account of the Pas de Deux from Stravinsky’s The Fairy’s Kiss’ (TheArtsDesk.com)» More

‘I'm happy to report that Danny Driver does this substantial work absolutely proud, and he enjoys terrific support from the BBC Scottish SO under Rebecca Miller’ (Classical Ear)» More

‘Bartók’s piano idiom, generally less resonant than, say, Liszt’s or Chopin’s, oddly benefits from the stylistic amplification lent by other instruments: a thought provoked by this fine account with François-Frédéric Guy and the percussionists Colin Currie and Sam Walton’ (The Sunday Times)» More

'The music is carried aloft by great, heaving cosmic waves through a universe glistening with heavenly sounds … these are technically challenging scores that take an orchestra to its limits. With Adès conducting, the London Symphony Orchestra reaches for the stars' (Financial Times)» More