‘Hewitt's Liszt interpretations are both exquisite and dramatic … her feeling for the work's grand architecture is manifest’ (The Sunday Times)» More

‘[Pianist Angela Hewitt] elucidates the B minor sonata's structural subtleties and balances its boarding power with scintillating details … in the three Petrarch sonnets, the kaleidoscope of emotions is exquisitely traced’ (The Times)» More

‘Effortless virtuosity and total musical command’ (The Guardian)» More

‘Suited to the composer’s rare moments of overt virtuosity, Hamelin executes the intricate passagework with fluidity and ease, exposing an array of subtle tone colours’ (The Whole Note, Canada)» More

‘In [this album], Hamelin has harnessed his technical facility in the service of Debussy’s own impressionistic essence. I can’t wait to see what he will do with Schubert’s masterwork’ (The Whole Note, Canada)

‘The British-Canadian pianist Angela Hewitt has a refreshing attitude to Liszt … in the B minor sonata and in the three youthful Petrarch Sonnets, Hewitt is magisterial. For many years Bach has been her calling card. Her Liszt is, if anything, yet more compelling’ (The Guardian)» More

‘[Angela Hewitt's] approach to the Sonata is both dramatic and deliberate … this release … confirms Hewitt is continuing to grow and mature as an artist and as an intellectual’ (ConcertoNet, Canada)» More

„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