‘Power (b1977) is perhaps the outstanding British instrumentalist of his generation, and not only a viola player but, as this disc richly demonstrates, a violinist, too … Power’s viola sound has a notable seductiveness, a sort of electric sweetness, but his genius for phrasing is as effective in Benjamin’s 1924 Violin Sonatina (more substantial than the title suggests) as in his searching 1942 Viola Sonata, the focus here. A virtuosic arrangement by the sonata’s dedicatee, William Primrose, of Benjamin’s 'hit', Jamaican Rumba, ends the sequence’ (The Sunday Times)» More

‘When performed with such commitment and expressive vitality, Handel’s suites are worthy to be placed alongside the finest, and these performances by Danny Driver are a welcome addition to the discography … Driver's impeccable technique, which is in abundant display here, with immaculate clarity of texture, neat and unfussy ornamentation, and with voice-leading all brought out to fine effect … what is so remarkable about these performances is the combination of textural clarity with the richness of tone afforded by Driver’s Steinway … I feel sure that Handel would have been only too delighted with these results … for those who prefer the piano, Driver provides the ideal alternative. It comes with fabulously eloquent notes from Richard Wigmore (in which every movement comes alive in his prose, a remarkable feat in itself) and a recording quality that captures every finest detail’ (International Record Review)» More

‘Hough’s own Sonata … is rich in textural variety and harmonic colour, full of massive chunks of sound like sculpted blocks of marble lit from within, and quirky, obsessive toccatas that whirl by like a runaway roundabout that keeps changing direction. It is unsettling, playful and original … hearing a masterful pianist performing his own work is a special experience in itself … countless details prove rewarding: the smoky pedal in the C sharp minor Nocturne’s transition, the free-flying melodic lines of ‘In der Nacht’, the veiled duskiness of the Moonlight Sonata's opening movement’ (BBC Music Magazine)» More

‘A new disc from Stephen Hough is always welcome. How will he surprise us this time and where will he take us? … there’s the dark and turbulent eponymous tone-poem and the far-from-restful presto finale of the 'Moonlight', given additional agitation by Hough’s spiky left-hand off-beats. The two adroitly chosen Nocturnes show that Chopin’s nocturnal reveries could be as dark and threatening in their own way as Hough’s, if his Sonata notturno luminoso is anything to go by. Angular, dissonant, fiery and often bleak, this work (18’23" in length) suggests, among its many images, ‘the irrational fears or the disturbing dreams which are only darkened by the harsh glare of a suspended, dusty light bulb’ (the composer’s useful route map in a note appended to Harriet Smith’s thoughtful booklet)’ (Gramophone)

'Gallicantus's robust and committed account will hearten those who fear for the future of this repertory on disc. The countertenors on the top lines are a vigorous alternative to women's voices' (Gramophone)

'This splendid recording will surely whet your appetite for the complete operas' (Early Music)» More

«La nouvelle venue se place sur un autre plan: incitée peut-être par l’indication «Très lointain» qui ouvre le deuxième mouvement, elle s'adresse aux yeux de l’imagination plus qu’aux élans du cœur. Cette lecture plus évocatrice qu'affective doit beaucoup à la gamme de nuances et au jeu de pédale de Piers Lane: à sa finesse, à ses fortissimos jamais durs et à l’interaction qu’il établit, non seulement avec le quatuor comme un groupe, mais avec chacun de ses membres, réalisant à la perfection l’intention de l'œuvre … la belle palette tamisée nous fait espérer que ces cinq-là en continueront l'exploration avec les sublimes Quintette de Vierne et Trio de Pierné» (Diapason, France)» More

'This album very much "does what is says on the tin"—it promises a "stroll through the world of one of England's greatest composers" and that is what we get. Anthems alternate with songs and choruses from operas and odes in a rich demonstration of Purcell's extraordinary versatility … this is a lovely collection, reflective of the composer's eclectic talents, and beautifully performed' (Early Music Review)» More

‘In Hamelin's latest disc of music by Janáček and Schumann, he shows himself a virtuoso in a deeper sense, a virtuoso in sound, colour and poetic empathy, one who, to quote Liszt, ‘breathes the breath of life’. Using his prodigious command in music of a transcendental difficulty—the Chopin-Godowsky Études, the major works of Alkan, Albéniz’s Iberia, etc—he displays gifts which show him as first and foremost a musician’s musician’ (Gramophone)

‘Setting aside a 2000 Danacord release featuring four movements from the first book of On the Overgrown Path, this is Marc-André Hamelin’s first extended exploration of Janáček's piano music. It proves to be a totally compelling experience confirming Hamelin’s strong empathy for the composer … Hamelin negotiates the emotional trajectory from carefree innocence to utter dejection through a masterly control of timbre and atmosphere. Deceptively simple melodic and chordal figurations are subverted as a result of Hamelin’s deliberately introverted playing and astonishingly delicate touch … he proves to be equally adept at exploring the more intimate side of the Schumann’s character and the two Schumann cycles here are absolutely magical’ (BBC Music Magazine)» More

«L'approche de Carwood est rhétorique: franche accentuation du texte dans des tempos allants, voix et lignes plus individualisées et sonorité moins ronde. L'influence de Pro Cantione Antiqua, revendiquée par Carwood, est évidente … il faudra suivre de près cette nouvelle traversée de l'univers de Thomas Tallis» (Diapason, France)» More

‘This cracking box of Fritz Kreisler fireworks marks the beginning of young violinist Jack Liebeck's partnership with Hyperion … these are so refreshingly bright and zestful they feel like new pieces. The instantly familiar Praeludium and Allegro, for example, is dismissed with exhilarating haste, as is Kreisler's immensely demanding transcription of Dvořák’s E minor Slavonic Dance. But perhaps the most impressive performance in the entire collection is the conquering of Kreisler's adaptation of Tartini's 'Devil's Trill' sonata, which surrenders completely to Liebeck and Katya Apekisheva's formidable technique’ (The Observer)» More