‘I begin with a confession, that had I not been working at Presto I may have overlooked Mishka Rushdie Momen’s Hyperion debut, with so much music vying for my attention and a continuing stream of new recordings. It would have been my loss to miss this album of captivating music, musicianship and pianism … there is much to explore and enjoy here, in an album which rewards repeated listening and which leaves me in anticipation of what we hear next from this exciting new addition to Hyperion’s armoury of superb pianists’ (Presto Classical)» More

‘Gibbons’s Alman in G, The King’s Jewel is infused with requisite nobility while the artist’s well-paced interpretation of Byrd’s The Bells bursts into rapid-fire figuration pealing with joy in this early summer pleaser a welcome addition to the baroque keyboard music discography’ (Winnipeg Free Press, Canada)» More

‘Rushdie Momen is virtuosic in the dense variations of Bull’s Walsingham, introspective in Gibbons’s darkly beautiful Lord Salisbury Pavan, and always weaving the music through with fine-spun threads of trills and embellishments, lightly worn. It’s beautifully done’ (The Guardian)

‘This is Schubert playing of the highest order’ (Prospect)» More

'Twee nieuwe werken geschreven op het lijf van The Gesualdo Six—een bezwerende bede van Owain Park en een bloedmooi neo-chanson van Ninfea Cruttwell-Reade—gaan dan weer vol voor de typisch Engelse­ensemblesound … puur en onversneden klankgenot' (De Standaard, Belgium)

‘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)

‘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)

‘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)

‘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)