‘The ever-excellent Polyphony and Stephen Layton have put together a very special disc of music by Pärt for the composer’s 80th birthday ... The hour-long programme ranges from Solfeggio (1963) to the recent Virgencita (2012) in its first recording. The perfectly balanced, richly warm tones of Polyphony, especially its outstanding bass section, suit Pärt’s translucent textures extremely well, and one can’t help but admire the power of this supposedly ‘simple’ music’ (Choir & Organ)» More

‘Angela Hewitt only took The Art of Fugue into her repertoire in 2012, but it crowns—magnificently—her acclaimed Hyperion recordings of the complete keyboard works, reaffirming her position as the outstanding Bach pianist of her generation’ (The Sunday Times)» More

'The Welsh virtuoso's idea of juxtaposing a selection of Wagner's uneven piano works with transcriptions is pianophile catnip. Wagner's 'long-winded' Fantasy, written at 19, and his effusive Sonata for his Tristan muse, Mathilde Wesendonck, are the most substantial original items, surpassed by Liszt's elaborations of extracts from Tristan, Tannhauser and Rienzi. Williams's reduction of Glenn Gould's four-hand Meistersinger Overture and his own Parsifal arrangements are highlights. An uplifting disc.’ (The Sunday Times)

‘The soberness of the Westminster singers catches the essence of the music: a language derived from Fauré, but reined in by a truly ingenious use of plainchant, which is distributed through the texture in a manner worthy of the greats of the Renaissance’ (AllMusic, USA)» More

‘I won’t mince words. This Art of Fugue is marvellous. The variety and beauty of tone alone make compelling listening, bringing contrasts, clarity and warmth to Bach’s intellectual marvels. The fugal subjects pile up; they are inverted, augmented and turned inside out—permutations neatly documented in the pianist’s typically detailed booklet notes. Yet her fingers never make the results dry triumphs of engineering’ (The Times)» More

„The Ulster Orchestra and Howard Shelley are on splendid form und perfectly at ease in the three concertos by Jan Ladislav Dussek, matching the inventive style of the composer by very lively performances“ (Pizzicato, Luxembourg)» More

'The viola-led OAE offer superb support throughout and the baritone Gerald Finley is at his most tonally liquid, with tenaciously sensitive phrasing … the choir respond magnificently' (Gramophone)

'As for the performance itself, it’s a very good one. The choir sings very well indeed—as you’d expect … Stephen Cleobury keeps the music on the move, imparting flow at all times' (MusicWeb International)

‘Replete with all the Angela Hewitt virtues—among them, unfailing clarity, innate elegance, an unerring sense of proportion, a finely honed mastery of style, melodic finesse and an unobtrusive grasp of harmonic rhythm—these are exemplary performances … the prevailing tonal palette, from soloist and orchestra alike, is appropriately lean but always beautifully focused and elegantly applied. Operatic in the best sense, Hewitt is more concerned with dialogue, not only between the two hands but within all levels of the texture, than with conventional notions of 'vocal' cantabile’ (BBC Music Magazine)» More

‘This one is something special. In part this is because of the choice of repertoire, which mixes the familiar and the less-often heard, and includes two first recordings, and in part it is because of the exquisite sound produced by Polyphony … highly recommended’ (Gramophone)

‘This is an impassioned, convincing first recording’ (BBC Music Magazine)» More

‘A new recording by Natalie Clein is always an event … and this one finds her on top form … this is exciting stuff with a real sense of happening … Concerto No 2 draws a muscular response from both orchestra and soloist. The beauty and freedom of Clein’s playing in the first movement’s three solo episodes and in the poignant Andante sostenuto is matched by her technical confidence and strong tone’ (The Strad)» More