‘[The Takács Quartet and pianist Marc-André Hamelin] surprised me with a more silken subtlety of approach, an understated sensitivity that nonetheless peels away the work’s surface and allows you to glimpse its emotional depths’ (BBC CD Review)» More

‘All the performers, whether singers or organists are on really fine form, with Stephen Layton certainly bringing out the best from his forces’ (MusicWeb International)» More

‘The power of this performance is undeniable. Forced to sing secretly, Tudor Catholics would surely have welcomed the Westminster Cathedral Choir’s full-throated expression of faith’ (BBC Music Magazine)» More

‘The performance by the Takács Quartet and Hamelin is all about Shostakovich and the rhetoric he was developing for his own expressiveness… one of the great virtues of this recording is the performers’ awareness of contrasting moods and their ability to bring those contrasts to the listener’s attention’ (The Examiner, USA)

‘Ohlsson plays with appropriate accuracy and wide gradations of touch. He uses the sustaining pedal sparingly and the damper to best effect where the phrasing calls for a firm staccato. His rhythmic control is excellent …’ (Audiophile Audition, USA)

‘The recording is of exemplary clarity, warmth and truthfulness’ (Gramophone)

'A first recording here for The Four Quarters (2011), a masterly reflection on the diurnal cycle that ends with the fantastical The Twenty-Fifth Hour … each piece is full of memorable ideas and ingenious rhythmic and textural workings' (The Sunday Times)

‘A Cecilian smorgasbord of excellent music from two centuries’ (Audiophile Audition, USA)» More

‘Isserlis plays the original Cello Concerto and bravely offers it in a wholehearted, spine-tingling live performance’ (Financial Times)» More

‘Throughout the quartet performs with unwavering verve and polish’ (WQXR, USA)» More

‘The instrumental contribution of the seven players is … always impeccable. The sound quality is excellent, intimate and immediate’ (MusicWeb International)» More

'[Gergiev] brings out details in the score, and the third movement Serenade finds both him and Tamestit more characterful, with greater engagement with dynamics and phrasing' (BBC Music Magazine)