‘Lim's luminous tone belies his years: it's hard to credit he was all of 21 when giving this performance in New York's Carnegie Hall … the close recording gives away no hint of a live audience while complementing what is fundamentally an intimate address to the cycle: again, you could almost forget (unless actually playing it!) that here is some of Bach's most showy and extrovert keyboard writing’ (Pianist)

‘Dazzling accounts of Russian ballet transcriptions … boy, does he succeed … his ability to carry off a grand gesture (those breathtaking scales! those arpeggios!) shows him to be a real creature of the theatre. The Sleeping Beauty Concert Suite is as infused with dance, romance and joy as any version I've heard’ (Pianist)

‘Humility and warmth marks Lim's treatmeant of the opening theme, with the 30 variations offering well over 30 different varieties of colour, texture, emotional shading and rhythmic vitality … Lim's youthful panache also serves Bach in another way, widening the sense of wonder that all great Goldberg performances need to convey’ (The Times)

‘One of the great Bach pianists of the second half of the twentieth century—I don’t think there’s any question about that … it’s just going to kill you if you’re not careful when you take it out of its box’ (The Ultimate Classical Music Guide)

‘This is a very fine disc indeed. David Hill and Ikon have shone a welcome light on an underappreciated part of Herbert Howells’ output … their singing is polished, full of vitality and the ensemble is expertly balanced. In David Hill they couldn’t have a better guide to this repertoire. In summary, the performances are ideal … if you love Howells’ music but are less familiar with his secular choral pieces you will find this CD very rewarding indeed’ (MusicWeb International)

‘This is a chorus that has it all … David Butt Philip is an absolutely wonderful Gerontius … the classic choice’ (BBC Record Review)

‘It's a fantastic sound … so beautifully done’ (BBC Record Review)

‘Surpassing every one of Rzewski's technical challenges, giving an electrifying performance, the Canadian made this recording in 1998 and it is still a benchmark … all is heard in fantastic recorded sound—you're in the room with the bright-toned instrument, marvelling at its tuning at the outer edges of the keyboard’ (BBC Music Magazine)

‘This album of Russian ballet transcriptions sparkles like a glass bauble hanging amidst the fairy lights … Andrey Gugnin is an ideal interpreter, a performer of agility and perceptiveness … it's the sheer beauty of his playing in the gorgeous Intermezzo and Andante maestoso that makes this special … Gugnin is dazzlingly virtuosic—it must be quite a thing to hear these pieces in concert’ (BBC Music Magazine)

‘Andrey Gugnin has a dazzling technique and brings off these challenging works superbly well … pianists who play Stravinsky’s piano works often include the Firebird transcription but Gugnin is as good as or better than most of them. If the programme attracts, there is no need to hesitate’ (MusicWeb International)» More

‘The rapport and balance between Isserlis and Shih are crucial in making this album such a delightful listen throughout … wonderfully lyrical playing from Isserlis … his enduring love of Schumann's music shines through every bar. Warmly recommended’ (Gramophone)

‘Lopes-Graça is fortunate in having Luís Duarte as one of his voices in the century after this fine Portuguese composer lived and died … as a pianist he fully embraces Lopes-Graça’s music, which in his hands is lovingly etched, slowly spun and temperately orated; not to forget episodes of urgent velocity … also we should doff the hat to Hyperion for the disc’s very long playing time and for the natural sound they have captured … it would be far too easy to ignore the voice of Lopes-Graça amid the media clamour around the hayride of new composers’ recordings. Don’t’ (MusicWeb International)