‘This is a performance where character and rich dimension emerge from within a patient and naturally projected vision of Bach’s most celebrated compendium. The work infrequently speaks with such gracefulness, freedom or conviction’ (Gramophone)

‘Shelley plays all these pieces as stylishly as ever … these pieces are a real find, and the disc augurs well for the series’ (BBC Music Magazine)» More

'An engaging and admirable performance … what’s not to like about this release? Highly recommended' (Choir & Organ)

„[Die zwei Konzerte] selbst nun wirklich alles haben, was man sich nur wünchen mag: Einfallsreichtum, Geschmack, Esprit, Kraft—um nur diese Eigenschaften zu nennen. Ein weiteres Highlight der großen Reihe!“ (Piano News, Germany)» More

‘This new recital has proved something of a revelation. Steven Osborne’s recording of the expansive Sonata Romantica, Op. 53 No. 1, reveals colours, and light and shade, that made me listen to the work anew. Lasting almost 25 minutes, this is a big piece, and what’s so impressive about Osborne’s account is not only the superlative technical command but the musical imagination he brings to the work – finding a range of nuance and expressive depth that makes the most urgent and compelling case for large- scale Medtner that I’ve ever come across’ (International Record Review)» More

‘This disc offers a stimulating programme, beautifully performed and very well recorded. The choir is on excellent form and the soloists drawn from its ranks also deserve separate commendation, helping to make this a fine contribution to this year’s remembrance observations’ (International Record Review)» More

‘Portuguese-born Artur Pizarro is a natural choice for this repertoire. (A charming booklet photograph shows him as a boy with his teacher, Evaristo de Campos Coelho, who gave the first complete performance of Napoleão’s Concerto.) His playing has all the dash and flair the pieces demand, and the gentler, more lyrical passages are played with an evident understanding of the idiom. He is a brilliant champion for these neglected works. Martyn Brabbins and the BBC National Orchestra of Wales provide the solid support we now expect of them. I hope they thoroughly enjoyed themselves; it certainly seems so. The recording is well up to the exalted standards of the house’ (International Record Review)» More

‘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