‘Musical magic … but the biggest surprise is kept for the final piece. The hilarious Five More Minutes (Sardine Armpit) sees percussionist Joby Burgess, Arcappellago and The Sardine Ensemble deliver a crazy Balkan-dance-like number possessing all the Dionysian grit and flair of Rosalía and Björk’s performance of ‘Berghain’ at this year’s BRIT Awards’ (Gramophone)

‘As was the case with Gerhardt’s performances of the Shostakovich concertos, his well-nigh flawless solo playing is closely observed … the generous old-school annotations are a definite plus’ (Gramophone)

‘Fox’s singing is consistently lovely, with the familiar silvery gleam in her upper registers much in evidence … Forés Veses and the Castile and León orchestra are excellent here, meanwhile, with some immaculately shaped playing, the strings lean yet beautiful, the woodwind gracious and elegant … it’s a fine album, thoughtful and enjoyable in equal measure’ (Gramophone)

‘Musicians are big on postcards … but none are as beautifully written as those by Stephen Hough, a reliable scribe wherever he is in the world … a joy to receive through the letterbox’ (Gramophone)

‘Eleanora Burratto is treasurable as Marina, her bright soprano thrilling at the top. As Giorgio, Freddie De Tommaso proves a verismo hero. The Orchestra i Pomeriggi Musicali is supple and secure under the idiomatic baton of Vincenzo Milletarì’ (The Guardian)» More

‘Recorded in Tokyo before an utterly quiet, spellbound audience, the performances display the virtues expected fromo such a sensitive and gracious musician … utterly appropriate and exactly what Beethoven desired … impossible to ignore’ (The Times)

‘Who doesn't need some summer fun? Particular pleasures? I'd highlight the three pieces by Cécile Chaminade, who started composing in childhood in the 1860s for her pets and dolls and remained at her best in charming short pieces that only need affection and flexible fingers for their magic to live again. It does so here’ (The Times)

‘Uchida's Beethoven remains unassumingly wonderful … from Beethoven, through Uchida, to us’ (The Guardian)

‘The recording is everything one could hope for … stupendous playing … Uchida’s traversal strikes me as very special indeed’ (MusicWeb International)» More

‘Distinguished by a thoughtful blend of excellent music, poetry and classic folk elements, not to mention top-drawer singing, you will want to linger in this musical garden’ (Limelight, Australia)

„Wie zukunftsweisend der Streichquartettkomponist Haydn war, unterstreicht das London Haydn Quartet nicht zuletzt in den abgründigen langsamen Sätzen, von denen sich sein großer Bewunderer Beethoven unüberhörbar zu seinen eigenen Geniestreichen inspirieren ließ“ (Rondo, Germany)» More

‘This is Bach of rhetorical vigour and collaborative imagination, the harpsichord set within the ensemble as an equal voice rather than pitted against it … it really is a crowded field, but Esfahani and the Britten Sinfonia have something genuinely new to say about the music. Purists may bristle. But, adapting a remark from Rupert Darwall, Esfahani writes that in this context, modern instruments seem less to age the harpsichord than to set it free’ (Limelight, Australia)