‘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)

«Une fois de plus, Roberto Prosseda et le London Philharmonic Orchestra s'y engagent avec sincérité, à l'image de l'ensemble des œuvres défendues dans ce disque passionnant» (ResMusica.com, France)» More

‘80 years after they took part in the first complete recording of The Dream of Gerontius, Huddersfield Choral Society has made another notable contribution to the work’s discography’ (MusicWeb International)

‘Superbly played and warmly recorded … I was enthralled by this album. You will be too’ (TheArtsDesk.com)» More

‘In less talented hands, this collection of sometimes-difficult atonal works—including John Cage's percussive, other-worldly The perilous night for prepared piano—might be a difficult listen. But Marc-André Hamelin's rounded yet articulated pianism is a joy—and his sense of rhythmic energy propels forward a beautifully balanced programme that unfurls like the chapters of an addictive story. His own Hexensabbat provides a swirlingly bravura conclusion’ (BBC Music Magazine)

'Prosseda suona da gran signore della tastiera quale lo conosciamo, con la cura per i dettagli, l’amore per la chiarezza, la sensibilità per il fraseggio e I contrasti dinamici di un pianista formatosi su Mozart e su Mendelssohn, e suona con un’eleganza che un po' fa parte della sua natura e che un po' viene dalla frequentazione del repertorio francese' (Musica, Italy)» More

‘True to form, Isserlis has dreamed up a historically evocative programme, and brought us something genuinely new: Schumann’s Violin Sonata, transcribed this time for cello. Schumann’s piece sits exceptionally well here on the cello … throughout, the combination of Isserlis’s plumply mellow, multicoloured sound and Shih’s nimble partnering on the gracefully responsive Érard is truly stunning … in short, it’s an utter delight’ (dCSAudio)» More

'Ancora il Clavicembalo ben temperato? Lo so che esistono decine, forse centinaia di incisioni del primo libro dei quarantotto preludi e fughe nelle diverse tonalità, ma Mahan Esfahani sta progressivamente registrando le opere cembalistiche di Bach e lo fa con grande intelligenza musicale e lo strumento che ha usato, costruito sul modello di un Johann Henrich Harrass del 1710, ha un suono splendido sfruttato in ogni possibile sfumatura in accordo con la natura di quella che il musicista ha definito 'l’architettura drammatica del magnus opum' del compositore tedesco' (Giornale della Musica, Italy)