‘Mishka Rushdie Momen [is] one of this country's most gifted and intellectually curious young concert pianists … [Reformation] is performed with thrilling exuberance and subtlety’ (The Spectator)

‘Once into the fray, the cellist, here an amiable-sounding Sheku Kanneh-Mason, delivers first, with his equally distinctive partners in tow, pianist Benjamin Grosvenor keeping to a moderate tonal palette without compromising his distinctive playing style, violinist Nicola Benedetti sounding silvery-clean, all three attentively supported by the Philharmonia under the vital baton of Santtu-Matias Rouvali. The pulse is constant and so is the sense of dialogue, all three players serving as firsts among equals, the big tutti appearing every now and then to remind us of the main thematic agenda. Unbend the Triple with big personalities and it can topple, but here the balance is absolutely right, a model of judicious pacing, too; there’s character to spare, which is as it should be … this can be considered a benchmark Triple’ (Gramophone)

‘Her first solo recital, and it’s a triumph’ (The Times)

‘Simon Callaghan’s advocacy presents [Sauer] in the best possible light … Callaghan’s verve and insight along with a laudable response from the St Gallen forces under Modestas Pitrėnas make this version preferable to that by Oleg Marshev … this new release is the most valuable recent addition to an estimable series’ (Gramophone)

‘The main work here is the vast and astonishing G Major Quartet. Composed in 1826, it is close kin to the Quintet in C, D956, having the same expansiveness, the same three key-area first movement exposition, and speaking things utterly new to the language of chamber music—like the unearthly crescendos on long notes, and the Brucknerian tremolos played, seemingly, on a single hair of the bow. You sense, to paraphrase Stefan George's Rapture, that you really are feeling the air of a different planet. The Takács foursome make the whole piece interesting, similarly the early B flat quartet, with a welcome unanimity of gesture and attack. Excellent sound’ (The Absolute Sound, USA)

‘This is exceptional musicianship by any standards … Schubert’s G major is a mammoth work that simply has to be heard. If you don’t know it and fancy a new recording of the work, then the Takács as recorded last year rival the best. Thoroughly recommended’ (Gramophone)

‘From her opening note in Sibelius’s Violin Concerto, the Dutch violinist … grabs our ears and never lets them go. She is anguished and ardent, gutsy and tender, or whatever else the music requires, with every emotional inflection firmly embedded in the composer’s long singing lines’ (The Times)

‘So impressive. Janine Jansen essentially strips these pieces of all the years of what one might call ‘performance adornment’ and takes them back to their elemental roots. From Mäkelä and the Oslo Philharmonic the shimmer at the start of the Sibelius is a frosty haze that you can see rather than hear and from the moment Jansen starts into her ariosa the intensity of her almost painfully true intonation fixes you with its unflinching belief’ (Gramophone)

‘Newcomer pianist Mishka Rushdie Momen touches on various topics in her notes for this 2024 release, which made classical best-seller lists … every interpretation is well considered, and there is never any feeling that one is hearing a Romantic vision of the English (and Dutch) Renaissance. A wonderful outing from a pianist whom listeners are likely to get to know better’ (AllMusic, USA)

‘Marc-André Hamelin powers through this tour de force [the Giga, bolero e variazione] in under four minutes—one of the miracles of the recorded repertoire’ (The Spectator)

‘There are surely no more charismatic young performers in this country today than violinist Nicola Benedetti, cellist Sheku Kanneh-Mason and pianist Benjamin Grosvenor, and together they make a stellar team, bursting with energy and expressive precision’ (BBC Music Magazine)

‘This is a remarkable feat that demands to be heard’ (BBC Music Magazine)» More