'De Britse pianist Simon Callaghan en het symfonieorkest van Sankt-Gallen onder de uit Litouwen afkomstige dirigent Modesta Pitrėnas zich, evenals in de beide werken van Reinecke, opnieuw van hun beste kant laten horen; en dat is zeker niet gering. De opname klinkt puik' (Opus Klassiek, Netherlands)

‘Highly proficient, versatile and prolific Australian pianist Piers Lane … well defines the character of not only each variation within a set, but also the style and approach of each composer. From the fanciful, folklore-influenced touches by Glazunov, to the boldly dark brushstrokes by Rachmaninov, it's all on display in this recording’ (Classical Music Sentinel)

‘With playing that’s never less than well-considered, gleaming and enjoyable, Lane is an excellent guide to these impassioned worlds’ (BBC Music Magazine)

‘This classically conceived and executed recital gives us a few of the usual suspects (the two Gabrielis and Monteverdi) but also several other prominent musicians associated with St Mark’s Basilica, including Claudio Merulo and Giovanni Croce. The London Oratory boys’ choir has a solid presence, with good balance and body. Giovanni Gabrieli’s well-known Jubilate Deo is an ideal opener, nicely delineated; his Beata es virgo Maria skilfully alternates different moods’ (Gramophone)

‘The Nash Ensemble’s performances are first-rate’ (BBC Music Magazine)

‘[Hamelin's] previous offerings of his own music were rich, but his latest self-portrait album is on another level. As before, he is a devoted tipper-of-the-cap: This set’s opening Variations on a Theme of Paganini, from 2011, nods to one of Rachmaninoff’s riffs on that much-adapted Caprice No 24. It’s all good fun, but there is another quality on this set that moves well beyond a game of spot the quotation. Call it a more sumptuous synthesis’ (The New York Times)

‘It is fascinating to compare Lim to Maurizio Pollini, the revered Italian pianist who died in March. Pollini's recording of the Études, hailed at its first appearance, remains one of the benchmark recordings today, and it turns out Pollini and Lim are polar opposites. Where Pollini is cool-headed perfection, Lim searches out character, emotion, variety … why not have Lim and Pollini? They both demand to be heard’ (Financial Times)

‘A pianist in complete command of his instrument … authoritative panache and powers of persuasion in these brilliant, poetic piano jewels’ (The Times)

‘I’d like to head straight for the Rachmaninov, the Variations on a theme of Chopin—the famous C minor prelude No 20—I think that this CD is worth it just for this opening theme; it is one of the most breathtakingly beautiful performances that I’ve ever heard of it … Piers is at his best … apart from just getting his digits around the technical demands, Piers has a real feel for the Romantic ebb and flow, the elasticity of the phrases … it doesn’t surprise me that the disc is as wonderful as it is … there’s a largesse to all of this that I absolutely love, and it suits this kind of repertoire so well’ (BBC Record Review)

‘If you enjoy the Chopin Piano Concertos I would say that the Tellefsen would appeal as an attractive alternative … a fine addition to this series which definitely still has legs’ (MusicWeb International)» More

‘The overall effect is sublime. Moving seamlessly into the 'Kyrie', the various ‘gear changes’ are impeccably negotiated, building to a luminous, rounded climax. Dramatic and dynamic contrasts and perfectly judged tempos make the 'Domine Jesu Christe' a highly satisfying movement, abetted by scrupulous attention to organ registration instructions and the honeyed intensity of baritone soloist Florian Störtz. The 'Sanctus' maintains this high-octane approach, with a particularly thunderous central ‘Hosanna’ … Poulenc’s Lenten motets are some of the most difficult and exacting a cappella works in the repertory. This recording dates from 2021 and was made in the choir’s ‘home acoustic’ in Cambridge. Clarity is the keyword here—that and impeccable tuning … a Gallic choral feast and strongly recommended’ (Gramophone)

‘The boldness, ferocity and raw red-blooded vigour of this pairing of Tchaikovsky and Korngold string sextets comes as a bracing surprise … Tchaikovsky’s chamber works aren’t exactly restrained: the dynamic range in Souvenir de Florence stretches from triple piano to quadruple forte and the Nash Ensemble make a pretty good job of hitting both. The propulsive energy of this performance hits you between the eyes right from the earthy, smudged opening chord. It’s all about rhythms—bouncing, kicking, hammered home by huge percussive spread chords. If the more lyrical melodies are never exactly lush, they’re always stylishly shaped, and the crispness and clarity with which the lower players articulate their accompaniments means that even in the grander climaxes (and it gets very boisterous indeed) there’s a sense of purpose and precision’ (Gramophone)