‘One of those rare occasions when composer, score, soloist, conductor and orchestra all combine in perfect synchronicity, when ‘everything comes together’ if you will … your hardened reviewer is not ashamed to admit that, once again, it moved him to tears. So if you are wondering if you need another Rachmaninov Third in your collection and on an album that lasts just 42'23", the answer is a resounding ‘yes’’ (Gramophone)

‘The textural sparseness of Weir’s setting is itself expressively emotive and beautifully rendered by the Yale Schola Cantorum under David Hill, who directed the premiere at the 2017 Proms. Hill’s shaping of the work is never more acute than in the lyrical second span, ‘Lament’, while he brings out the drama of the opening Prologue and the work’s denouement (sections 5‑6, ‘The Whirlwind’ and ‘God Speaks’) with consummate skill … Hyperion’s first-rate sound captures the ambience of Yale University’s Woolsey Hall perfectly, as well as every line and nuance of both scores’ (Gramophone)

‘[Hewitt] is nimble and witty [in K265], characterising each variation clearly but never striving for effect, and adding runs and decorations that are in the spirit of the birth of this piece as a competitive improvisation … there is introspection aplenty in the Adagio K540 and Rondo K511 that finish this lovely cycle: the Rondo dates from the time of the death of Mozart’s father, and is freighted with emotion that Hewitt recognises but doesn’t milk. This album, as with the other two, is highly enjoyable and recommended’ (TheArtsDesk.com)» More

‘Weir’s setting of In the Land of Uz has a lot of variety, both in its use of solo voices emerging from the choral texture, but also the instrumental accompaniment of five solo instruments and organ (violist Gretchen Frazier is outstanding) … the concluding movement … is Judith Weir at her best, and the Yale Schola Cantorum in fine voice … the choir get their teeth into some meaty passages [in the Beach] and it all sounds a lot of fun to sing, a distinctive American accent detectable in the music as well as in the performance. As with the Weir, which it sits alongside fascinatingly, the final movement is where it all comes together, dissolving from a big choral climax into the humblest of thanksgivings’ (TheArtsDesk.com)

‘This album aims to show you all the varying, miraculous colours and tones you can get from a bassoon … my pick for this week. It is just delightful from start to finish; it has a sense of humour because Laurence Perkins … is obviously a legend and knows how to have fun … go and listen to Hyperion's new album Honey-coloured cow!’ (ABC Classic, Australia)

‘There is a sense of palpable enjoyment running through this appealing new album from leading British bassoonist Laurence Perkins  an altogether entertaining album, where everything from Perkins's thoughtful programming to his spirited performances and perceptive programme notes feel rooted in a terrific enthusiasm for the instrument’ (BBC Music Magazine)

‘Kremerata Baltica is splendidly directed by Fuad Ibrahimov and in Kremer (of course) and the orchestra’s principal cellist, Magdalena Ceple, we have two proven exponents of the experimental. The recording has been very well judged, whether for two solo strings or the entire ensemble. Kalabis has been well served by this release’ (MusicWeb International)» More

„Das ist Musik, in die man sich hüllen möchte, wie in eine warme Decke. Das spannungsgeladene „Diptychon“ für Streichorchester bringt dichte Klangflächen und teils Mikropolyphonie. Genau das Richtige für die grandiose Kremerata Baltica“ (Concerti, Germany)

‘Benjamin Grosvenor’s Chopin is undoubtedly of the highest class … Grosvenor is not afraid to indulge in a little left-before-right desynchronisation, but only for the sake of expressive contrast, not least in structural repeats, and his textural voicing is always judicious’ (Gramophone)

‘I love the way Hamelin ever-so-slightly stretches the longer notes in his opening accompanying figure [of the Dvořák], immediately drawing one into this interior world, and how cellist András Fejér sculpts his glorious solo in generous expressive arcs … the Dumka movement itself is exquisite, the slow sections played with refinement and delicacy … they play the brief Scherzo that serves as a finale [in the Price] with a light touch that somehow blends the lyrical seriousness of the opening movement with the Juba’s high spirits. As a result, the whole work flows with a sense of rightness … with recorded sound that’s at once detailed and atmospheric, this new Hyperion release is pure pleasure in every respect’ (Gramophone)

‘Able to rank alongside the finest … the uniqueness of the present coupling is hardly the least of its assets. With sound of unfailing definition and focus, it demonstrably takes Kanneh-Mason’s standing on to a whole new level’ (Gramophone)

‘It’s a wonderful showcase for the instrument in all its guises—comic, serious, balletic—including a piece by Ruth Gipps called Honey-coloured cow, which is the title of the album and includes a ‘moo’ … compulsory for bassoonists, but sheer delight for anyone else’ (BBC Record Review)