„Wenn es je einen Satelliten geben wird, der eine CD-Reihe mit Klavier-konzerten in entfernte Galazien bringen soll, um von den Tastenkünsten und -künstlern der menschlichen Spezies Zeugnis zu geben—er könnte und dürfte eigentlich nur die Hyperion-Reihe „The Romantic Piano Concerto” an Bord haben … der Pianist Artur Pizarro und das BBC National Orchestra of Wales gewinnen [diesen] Werken ihre schönsten Seiten ab und gestalten sowohl die introvertierte (Oswald) als auch die eher extrovertierte Spielart der Romantik (Napoleão) vorbildlich“ (Piano News, Germany)» More

„Eine solide und recht kompakte Schumann-Einspielung entstanden“ (Piano News, Germany)» More

‘Today [Scriabin] enjoys a near classic status and Garrick Ohlsson’s disc of the complete Poèmes provides ample food for thought … his playing now reflects rich experience and musical quality … his empathy with so many fragmented dreamscapes is lucid and sensitive’ (Gramophone)

‘Neither of these two cello concertos by the nineteenth-century violin virtuoso Henri Vieuxtemps has survived into the regular repertoire, but the ardent championship of them by no less an artist than Alban Gerhardt reveals that they have been hiding their lights under bushels for far too long. Vieuxtemps seems to have been able to enter the expressive and technical world of the cello with an instinctive ease comparable to that which he brought to his seven violin concertos: you only have to listen to the gorgeous tune in the slow movement of the First Concerto, deftly etched in with orchestral colour, to appreciate his sensibility, which is coupled in both concertos with a dynamic flair, testing bravura and fertile ideas. Gerhardt plays them with affection and terrific aplomb, echoed by Vieuxtemps’s Belgian countrymen in the Royal Flemish Philharmonic under the spirited baton of the Spanish conductor Josep Caballé-Domenech. Eugène Ysaÿe, another Belgian, was a violin pupil of Vieuxtemps and, like him, was also drawn to the cello in his Méditation and Sérénade, which attractively complement the concertos here in performances of tender lyricism and palpable warmth’ (The Daily Telegraph)» More

‘A couple of magnetic Poles walk the Hyperion red carpet’ (Limelight, Australia)» More

„Ohlsson wird auch nie sentimental, versucht nicht, die Musik programmlich auszudeuten, wovor Scriabins erster Biograph, der Komponist und Schriftsteller Evgeny Gunst ja ausdrücklich gewarnt hat … alles in allem kann man schlussfolgern: so soll Scriabin klingen!“ (Pizzicato, Luxembourg)» More

‘[This recording] offers a greater mix of pieces which amply demonstrate just why Machaut occupies such a crucial position in medieval music … the listener is transported into a richly rewarding and endlessly fascinating soundworld in which poetry and music are entwined as they can only be when they flow from the same pen … deeply satisfying while still whetting one's appetite for more’ (The Europadisc Review)» More

‘Trinity College Choir Cambridge under the direction of Stephen Layton give superlative performances of varied and engaging choral works by the Latvian composer Ēriks Ešenvalds. Contemporary music making at its best’ (The Northern Echo)

‘Pianist Angela Hewitt has a close affinity to the music of Liszt; it was his Piano Sonata in B minor which played a part in honing her technique, and helped her win a number of competitions as a young performer. In this album she fulfils her dream of recording it, placing fresh light on the work … highly recommended’ (The Northern Echo)» More

‘Alexander Scriabin produced a steady torrent of miniatures between writing monumental pieces. American pianist Garrick Ohlsson gives an insight into the composer’s inner world in scintillating accounts of these varied Poèmes which were written over more than a decade’ (The Northern Echo)

‘This austere programme has become, in her hands, a wonderful experience full of song and danceable ecstasy’ (World Music Report, Canada)» More

‘Latvian composer [Ēriks Ešenvalds's] rich, sonorous choral writing is in almost permanent ecstasy, with sopranos sailing over great waves of cluster chords, a colouristic vision … all beautifully sung’ (The Guardian)