‘Not least, where most players of the natural horn seek to minimise the difference in tone of those pitches that can only be got out of the instrument by hand-stopping and tricks of breathing, Pip Eastop positively flaunts them, suggesting how Mozart may have actually relied upon the effect of a muffled note here or a chromatic snarl there to help shape and colour his phrasing’ (BBC Music Magazine)» More

«Le violoncelliste anglais privilégie une approche sévère, austère quoique toujours très variée et colorée. Le caractère extraverti, sans faiblir, se nuance d'une teinte fauve et d'irisations assez inattendues. La partie soliste est jouée de façon hallucinante, avec un phrasé merveilleux et une grande maîtrise technique» (Diapason, France)» More

‘Scriabin's microcosmic soundworlds, powered by chains of augmented and chromatically liquefied harmonies, require a transcendental technique and the ability to conjure up simultaneously myriad differentiated sounds and textures. Ohlsson possesses remarkable facility … unleashes immense reserves of power … has the required delicacy of touch’ (BBC Music Magazine)» More

‘The music is … very fine and full of interest. The singing is as excellent as we’ve come to expect from this ensemble. The ambience of the Fitzalan Chapel in Arundel Castle and the singing itself has been beautifully captured in the recorded sound’ (MusicWeb International)» More

‘[Gerhardt shows himself] at home in the music's more sensational moments (serving up a remarkable level of detail without sacrificing a sense of line) and in its more expressive passages (his ardent performance of the middle movement of the Vieuxtemps First is especially beautiful) … all in all, a welcome release’ (International Record Review)» More

‘These performances by Gerhardt with the Royal Flemish Philharmonic under Josep Caballé-Domenech never fail to hold one’s attention’ (Gramophone)

„Nirgends, weder in der Sonate noch in den magistral gespielten Sonetten oder in der Dante-Sonate fehlt es an Dramatik und Virtuosität, aber die Gesamtarchitektur, die Hewitt immer im Auge hat, beinhaltet auch das Reflektive, das Intime, und sie legt alles mit äußerster Klarheit dar, mit jener Souveränität, die aus einer langen Beschäftigung mit der Musik erwächst und es Hewitt erlaubt, zu ihrem Kern vorzudringen“ (Pizzicato, Luxembourg)» More

‘Eastop combines the incisive and the lyrical in perfect proportion’ (The New Zealand Herald)» More

‘All in all, then, this is an attractive disc which will certainly not disappoint’ (MusicWeb International)» More

‘Technical brilliance almost taken for granted, [Angela Hewitt's] approach is essentially analytical, fully understanding the structure, the relationships of parts to the whole, the thematic, harmonic and rhythmical subtleties, avoiding excesses so the work feels an integral whole and shines in all its majesty’ (The Whole Note, Canada)» More

‘Ottawa-born Angela Hewitt's first all-Liszt solo album is as much further proof of her renowned pianism as it is a personal mission … this new Hyperion release by one of the world's top Bach players also proves to be an eye-opener of Hewitt's sheer versatility and artistic range’ (Winnipeg Free Press, Canada)» More

'Truly exceptional performances, whose transparency, virtuosity and sheer vocal perfection are beyond compare' (Musica, Italy)» More