‘Astonishing recordings. I have to think back to the similarly early versions by Ashkenazy and Pollini to find parallels for Lim’s keyboard command and poetry’ (Daily Mail)

‘The choir is magnificent, emerging through former Trinity organ scholar Harrison Cole’s adroitly chosen organ textures in the Introit, yet producing searing radiance in the climax of the Sanctus. If not fully continental in expression, Anglican primness is left behind, with a reverent intensity permeating everything’ (BBC Music Magazine)

‘Who can dismiss Grieg's set of 66 short Lyric Pieces as mere trifles? Published over a series of 10 books spanning a period of 35 years, they are a portal, a gateway, into Grieg's creative life. Each and every one of them evokes a sentiment, a memory, a place and time in the composer's life and in an unpretentious way conveys these snapshots, these private moments, to the listener. Here, Andrey Gugnin presents a set of twelve from books 3 and 7 … and solicits from them the precise mood or tone intended by the composer’ (Classical Music Sentinel)

„Ein Album, das in jeder Hinsicht besticht: Hamelin ist einer der Pianisten-Komponisten, die in ihrer eigenen Art an frühere Zeiten erinnern, in denen die Interpreten noch selbst Musik schrieben und das Geschriebene auch mit einer nonchalanten Leichtigkeit spielen konnten!“ (Piano News, Germany)

'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)

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

‘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)

‘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)