‘This album can be savoured on so many levels: as a masterclass in organ improvisation or for the radiance of Stephen Layton’s choristers and the rare opportunity to wallow in the marvel of an English choir in tip-top condition bathed in the vastness of Saint-Eustache. Nor should we ignore Trinity’s organ scholars, Jonathan Lee and Harrison Cole, who display their total mastery of the 101 stops and five manuals of the mighty 1989 Van den Heuvel organ’ (Gramophone)

‘[Lim's] Chopin is as flexible and feather-light as it is fluent and fiery, as compelling in its sense of structure as in its relishing of detail. The whole experience radiates joyful, youthful exuberance. And lest anyone hold his age against him, let’s not forget that Chopin himself was not that much older when he composed the pieces … in short: Yunchan Lim’s Chopin Studies are a triumph, and to say that they bode well for his future is a colossal understatement’ (Gramophone)

‘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)

‘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)

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

‘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)