‘So compellingly performed. This is especially true of the Piaf material. What a good idea to open with ‘La foule’. One could almost hear the distinctive voice of the Little Sparrow herself. It forms a charming couplet with ‘La vie en rose’, imaginatively arranged by Laura Snowden … it’s solo Whittingham that most induces one to hit ‘repeat’. The Debussy, the Satie, the Ida Presti … there’s such a strong grasp of the guitar as a complete theatre of emotion’ (Gramophone)

'Va subito detto che si tratta di un’interpretazione di altissimo livello: il coro si è rivelato un organismo assai compatto, morbido ed omogeneo dal punto di vista timbrico, i tempi adottati dal direttore sono risultati funzionali alla piena valorizzazione della musica e al carattere funebre delle due composizioni, evidenziandone di volta in volta l’impronta meditativa e il sommesso lirismo, offrendo in tal modo un affresco assai coinvolgente … Dougan si è distinta per una condotta più meditativa, se non estatica, grazie a scelte agogiche più controllate ed ad una notevole sottigliezza di dinamiche. Un disco, in definitiva, che consiglio vivamente in questi nostri tempi oscuri, dominati dal cinismo e da una crescente disumanità, un disco che oltre alla bellezza e alla densità della musica unisce un profondo slancio mistico' (Musica, Italy)

‘Among the speeding plinks and plonks a spell was being cast. For that you can partly credit the hidden charms of Zappa's filigree concoction [Ruth is sleeping]. But the most obvious lure was the enormous skill of the pianist, the magisterially wonderful Marc-André Hamelin, famous for tackling the piano repertoire's most formidable creations and making them seem what is technically known as a piece of cake … every object on this refreshing album is well worth finding and listening to’ (The Times)

‘A reminder. Andrey Gugnin is a 38-year-old Russian pianist whose virtuosity is of a lightness and charm known to very few … [Gugnin’s] playing has a precision and elegance that free him to characterize each ballet recreation with an ease that makes you temporarily forget the original scores … Hyperion’s sound is superb … this is a delectable record and I long to hear Gugnin in mainstream repertoire’ (The Art of Pianists)

‘If the thought ‘not another Schumann Piano Concerto’ crossed your mind, then let it perish! This is a performance for the ages, as fresh and spontaneous as many modern performances—and in some respects even more so … Davies’s recordings are of great historical importance’ (Gramophone)

‘De Profundis have a group probably more like what Morales would have expected, and Eamonn Dougan conducts with his customary tactful musicianship … [Ave verum corpus] is a really gorgeous piece, gorgeously sung’ (Gramophone)

‘Gugnin is a first-rate virtuoso and musician … an electrifying performance of Guido Agosti’s notoriously demanding Firebird Suite arrangement’ (Gramophone)

‘Mahan Esfahani is unquestionably a latter-day philosopher of the harpsichord. And like any good philosopher, you may not always agree with him, but he is always interesting, never boring. So, he proves again here, with his epic new recording of a cornerstone of the keyboard repertoire, Book I of JS Bach’s The Well-tempered Clavier. It’s quite the ride … and the playing? Fabulous, of course—effortlessly virtuosic yet outstandingly musical—and definitely compelling enough for the recording to be devoured at one sitting, as Esfahani intends’ (Limelight, Australia)» More

‘Mesmerizing … don’t overlook this. Gugnin brings the magic to Pletnev’s Nutcracker transcription; his Stravinsky Petrushka pieces have thrilling exuberance and virtuosity—it’s a wonderful recital of Russian ballet suites by Stravinsky and Tchaikovsky’ (BBC Record Review)

‘Absolutely fascinating … a window on to two different eras in musical history, really, because we’ve got the world of Robert and Clara Schumann in the 1840s, when he wrote his Piano Concerto for her and Clara premiered it, and the world of British pianist Fanny Davies who studied with Clara Schumann and then made that recording in 1928 … it’s spine-tingling listening to this and thinking of the connections … it’s just fantastic to have this re-release … a wonderful disc … a real discovery’ (BBC Record Review)

‘Cortot’s depth of expression, tonal beauty and unique musical imagination put him in a school of his own … I’d rather hear Cortot and his finger-slips than many another pianist offering soulless, highly edited perfection. There are too many highlights to list … the cherry on the top here is the inclusion of the first (and lesser known) of Cortot’s two recordings of Chopin’s Sonata No 3, this from a London session in May 1931. I’ve run out of space so I’ll merely say I sat transfixed. I’d buy this twofer just to have the second subject of the slow movement in my collection. Oh—and the Scherzo. And the Lento movement’ (Gramophone)

‘The latest volume in Mahan Esfahani’s voyage through Bach’s harpsichord music arrives at one of the key works of the whole keyboard repertoire … with an interpretation that emphasises [the music's] flexible, human features. He is open about feeling no need to follow such impractical ‘rules’ as articulating a fugue subject the same way at every statement, but in countless other places, too, makes decisions that seem based on the mood of the moment rather than the dictates of a pre-formed intellectual plan … the result of all this, and more, is that the music never sounds as if it is playing itself, but is always alive, always has a personality’ (Gramophone)