‘Captivating, alluring performances from Lane, who captures the Chopinesque incandescence and brevity of the early Préludes with a magical sureness of touch that clarifies and illuminates even the blackest of pages’ (BBC Music Magazine)

‘As Scriabin's invention begins to take flight with his later Préludes, Piers Lane responds with fleet-fingered, mercurial playing that captures the music's super-heated compression with meltingly phrased precision and alacrity’ (BBC Music Magazine)

‘As always with Hyperion the notes contribute considerably to the overall excellence … the new recording can hold its head high in [other labels'] company. Carwood takes all but the Sanctus and Benedictus faster than Summerly without sounding at all hurried … Even if you already have the complete Signum/Brilliant Classics set or many of the individual albums from it, the new Hyperion and its predecessors should be on your wish list. The four volumes issued to date cover almost half of Tallis’s extant output. Roll on the rest’ (MusicWeb International)» More

‘This very enjoyable series continues its sequence of motets and hymns, with a Mass as the centrepiece—this time the setting for four voices, the most direct and pared down of Tallis's output … The Cardinall's Musick give a very well-judged account of one of Tallis's most economical works … for the rest, there are splendid performances here: with O salutaris hostia, Laudate Dominum and Euge caeli porta the composer is in his essential idiom, to which The Cardinall's Musick respond with poise and precision, and they are equally at home in the settings from Archbishop Parker's Psalter, where a forthright unanimity is required. A very welcome issue, then; and it's always nice to known that there's more to come’ (Gramophone)

‘If you painted me into a corner and forced me to choose between Victoria and Palestrina, I’d have to choose the former, much as I love the latter. If I could have just one Victoria recording on my Desert Island, this, from Westminster Cathedral Choir directed by Martin Baker with Robert Quinney (organ) would be very high on the list … this is music that will transport you to a higher plane’ (MusicWeb International)» More

‘Another Scriabin winner from Lane who takes the music's finger-breaking, chromatically intensified complexities in his stride with a beguiling, micro-inflected sensitivity that favours poetic intimacy over primeval catharsis’ (BBC Music Magazine)

'King’s Choir is clearly in excellent shape' (The Sunday Times)

‘I don’t think I have heard a harpsichord sound as supple and rich in colours … Rameau’s five suites rank with the finest keyboard music of the first half of the 18th century, but they remain neglected by the side of masterpieces by Handel and Bach. Esfahani’s magnetic advocacy could change all that. His rhythmic verve, wide spectrum of tone colour and joie de vivre is evident throughout’ (The Sunday Times)» More

‘Marc-André Hamelin's stature, extraordinary from the start, increases with every new issue. And here in his latest album he subdues his legendary, transcendent technique to convey Debussy's very essence with a surpassing ease and naturalness … he offers profoundly expressive yet lucid and transparent insights into the composer's teeming imagination … The poetic sheen and finish of all these performances are things to marvel at, leaving me to long for more Debussy, to say nothing of Faure and Ravel, from an artist supremely attuned to the French repertoire, as to so much else. Hamelin's glistening sonority is flawlessly captured by the Hyperion team. This is a disc to treasure’ (Gramophone)

‘This is an exquisite performance of the Duruflé Requiem, beautifully evoking the inherent intimacy of the version with chamber orchestra and organ accompaniment, yet wielding great power at the climaxes, where the weight of the Westminster Abbey organ comes into its own. The playing of the Britten Sinfonia is superb, Robert Quinney's fluid immensely colourful organ-playing a joy to behold and Roderick Williams a supremely compelling soloist. The Abbey Choir boys occasionally sound pressured (as in their exposed divided 'Christe eleison') but for the most part this singing is simply divine, and James O'Donnell moulds and shapes every moment with infinite care, the chant-infused lines dovetailing impeccably … as a beautiful listening experience it is in a class of its own’ (Gramophone)

‘One cannot imagine these works more convincingly and sincerely executed. What verve and flair he brings to the stamina-sapping solos, and with what graceful lyricism he invests the cantabile writing. He is only the third pianist to champion the Napoleao concerto. Interestingly, as a child he studied with Evaristo de Campos Coelho (1903-88), who gave the work its first performance in 1941, over half a century after its composition’ (Gramophone)

‘The bravura writing has to be savoured, and there's a lot of it, as well as the unremitting rhythmic energy. And many of the pages are to be counted among Schumann's most inventively complex in their textural detail. Of the eight, only the first and the elaborate last one are often heard; Nos 4 and 5, a waltz and a polonaise respectively, hardly ever. So, lots of discoveries to be made. Danny Driver is commanding and personable. He never fails to establish character and to provide the understanding and flair of a virtuoso in leading us on, in getting from one thing to another’ (Gramophone)