‘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)

‘Under Owain Park’s leadership and sonorous solitary bass voice (with the bonus of a stunning low A in Eleanor Daley’s Grandmother moon), the blend of voices is perfectly balanced and captured. His own Sommernacht proves a perfect match for Rheinberger’s soothing Abendlied, albeit with a much richer harmonic palette … [a] highly enterprising and satisfying album’ (Gramophone)

‘This new album, ‘River of Music’, with its various opportunities for solo display as well as collaboration, shows how much these musicians have grown in the interim … Sheku and Isata’s version of Dvořák’s ‘Song to the Moon’ is, to my ears, the most astonishing performance here—so direct yet deeply communicative. It leaves a lump in my throat every time I hear it … an utterly charming performance [of the Trout Quintet] that balances youthful vigour with thoughtful lyricism’ (Gramophone)

‘The title of [Reflections], which lies somewhere between a traditional romantic concerto and a more amplified suite (not unlike Vaughan Williams’s neoclassical concerto), was intended to ‘reflect’ something of Rutter’s past enthralment with the music of his formative years. A Hollywood-style 'prelude' for the orchestra alone, ‘to bring the soloist on stage’, builds to the entry of the pianist (whose role here is taken authoritatively by Steven Osborne) in a compelling 'toccata' written in homage to Ravel, replete with Gershwin‑ite blue notes and a good deal of euphonious melody. The second movement, dubbed by the composer a dreamy ‘interlude’, provides an extended conduit to the lively 'finale alla burlesca' (Gramophone)

‘There’s no Roasted Swan on this bill of fare from cellist Mats Lidström and his son, pianist Leif Kaner-Lidström, but there are swans a-swimming, silver and black, alone and in a pair (Hahn) in these transcriptions by Mats, drawn in the main from the song repertoire … Leif lends impeccable filial support, his accompaniments always at one with his father’s cello … I was very taken with Leif’s new composition, which Lidström Snr describes as the swan with the sweetest personality of the album. He’s right!’ (Gramophone)

‘As he wows one concert hall after another with his prowess in blockbuster concertos, it’s good to see Yunchan Lim devoting himself to one of the most intimate of piano solo favourites. His booklet essay consists of candid responses to each musical vignette, and his playing is as heart-on-sleeve as those reflections: no inhibitions over left-before-right desynchronisation, added bass octaves, arpeggiations and other trappings of the grand style of pianism … Lim’s technical aplomb is consummate, with tremendous articulation and a superb ear for harmony and voice-leading. The piano sound is bright and clear’ (Gramophone)