‘More than any contemporary player, she manages to suggest the harpsichord’s plucking mechanism with her brilliant articulation—the trills of Variation 16!’ (The Sunday Times)

‘More than any contemporary player, she manages to suggest the harpsichord’s plucking mechanism with her brilliant articulation—the trills of Variation 16!’ (The Sunday Times)

„Auf diesem Feld, wo nur eine Hand voll Pianisten überhaupt komplett überzeugen konnte, gelingt Angela Hewitt eine durchaus hörenswerte Einspielung“ (Pizzicato, Luxembourg)» More

«Osborne s’affirme comme un très grand interprète de ce monument—plus convaincant que Perahia ici en récital. Il prend la sonate à bras-le-corps dans une vision intraitable anticipant les derniers Quatuors» (Le Devoir)» More

‘The players’ enthusiasm is self-evident, and Power tempers his sweet, full-throated tone … with a lovely inwardness in the quieter music. Crawford-Phillips is very much on the same page; the pair phrase naturally together’ (Gramophone)

‘This Hyperion issue is another sure fire winner from Andrew Carwood and his outstanding choir, taking further their Tallis edition … anyone who loves to wallow in the Great British choral tradition should not hesitate. I sense this could well be a potential award winner’ (Classic FM)» More

‘This is Steven Osborne’s 25th recording for Hyperion and what a marker it is. The Scottish pianist plays with an authority built on intelligent, very human musicianship: his accounts of these three late-period Beethoven sonatas are hugely personal but are never about him’ (The Guardian)» More

‘Bevan proves that she is a wonderful interpreter of this music with the excellent Malcolm Martineau once again showing what a thoughtful and considerate accompanist he is. This is a true and wonderful partnership. In their hands the music of Reger is safe and this excellent recording should win new converts to his cause. It is the finest disc of his songs so far’ (MusicWeb International)» More

„Ohlssons Smetana-Interpretation entpuppt sich als höchst hörenswerte Entdeckung nicht nur für Klavierfreunde, sondern generell für jeden, der gleichermaßen hervorragend komponierte wie gespielte Musik schätzt“ (Klassik.com, Germany)» More

‘[Nicolas Altstaedt]'s approach is so indefinably delicate, the phrasing of C.P.E. Bach's seductive lines limpid, the recitative hyperarticulate … Arcangelo prove inspired partners, lending disruptive energy without ever overwhelming Altstaedt's often princely lyricism’ (BBC Music Magazine)» More

'This fine start to the cycle more than whets the appetite for future volumes' (BBC Music Magazine)» More

‘The tone of voice, so perfectly captured by Florian Boesch's securely focused yet nonchalant baritone, is very much that of the so-called 'new objectivity', or 'Neue Sachlichkeit' of the 1920s’ (BBC Music Magazine)» More