«Une fois de plus, Roberto Prosseda et le London Philharmonic Orchestra s'y engagent avec sincérité, à l'image de l'ensemble des œuvres défendues dans ce disque passionnant» (ResMusica.com, France)» More

‘80 years after they took part in the first complete recording of The Dream of Gerontius, Huddersfield Choral Society has made another notable contribution to the work’s discography’ (MusicWeb International)

‘Superbly played and warmly recorded … I was enthralled by this album. You will be too’ (TheArtsDesk.com)» More

‘In less talented hands, this collection of sometimes-difficult atonal works—including John Cage's percussive, other-worldly The perilous night for prepared piano—might be a difficult listen. But Marc-André Hamelin's rounded yet articulated pianism is a joy—and his sense of rhythmic energy propels forward a beautifully balanced programme that unfurls like the chapters of an addictive story. His own Hexensabbat provides a swirlingly bravura conclusion’ (BBC Music Magazine)

'Prosseda suona da gran signore della tastiera quale lo conosciamo, con la cura per i dettagli, l’amore per la chiarezza, la sensibilità per il fraseggio e I contrasti dinamici di un pianista formatosi su Mozart e su Mendelssohn, e suona con un’eleganza che un po' fa parte della sua natura e che un po' viene dalla frequentazione del repertorio francese' (Musica, Italy)» More

‘True to form, Isserlis has dreamed up a historically evocative programme, and brought us something genuinely new: Schumann’s Violin Sonata, transcribed this time for cello. Schumann’s piece sits exceptionally well here on the cello … throughout, the combination of Isserlis’s plumply mellow, multicoloured sound and Shih’s nimble partnering on the gracefully responsive Érard is truly stunning … in short, it’s an utter delight’ (dCSAudio)» More

'Ancora il Clavicembalo ben temperato? Lo so che esistono decine, forse centinaia di incisioni del primo libro dei quarantotto preludi e fughe nelle diverse tonalità, ma Mahan Esfahani sta progressivamente registrando le opere cembalistiche di Bach e lo fa con grande intelligenza musicale e lo strumento che ha usato, costruito sul modello di un Johann Henrich Harrass del 1710, ha un suono splendido sfruttato in ogni possibile sfumatura in accordo con la natura di quella che il musicista ha definito 'l’architettura drammatica del magnus opum' del compositore tedesco' (Giornale della Musica, Italy)

‘Just as I thought I could no longer be surprised by Marc-André Hamelin’s choice of repertoire, along comes this thrilling collage, mixing the apparently unmixable, from Frank Zappa and John Cage to Hamelin’s own terrifyingly virtuosic Hexensabbat. The upshot is a musical mosaic as colourful, exciting and witty as it is moving’ (Gramophone)

‘There aren’t many pianists out there who could handle these seven works, let alone with such aplomb. Marc-André Hamelin is surely the only one who could conceive of such a set in the first place’ (Avant Music News, USA)

‘Marc-André Hamelin has been such a fixture in the concert hall and recording studio that it’s easy to forget that his is a technique so complete that it becomes invisible. The combination of technical firepower and his boundless intellectual curiosity make this collection utterly compelling and there aren’t many pianists who could do that so effortlessly in this repertory. The engineering and piano sound are excellent and the informative notes are by Hamelin himself’ (International Piano)

‘Pianistic command is certainly never in doubt, as confirmed in Guido Agosti’s fearsomely intricate Firebird transcription—a volcanic reimagining that Gugnin surmounts with effortless poise. The ‘Berceuse’ unfolds with atmospheric suppleness, while the tremolos of the finale shimmer like molten gold beneath the music’s mounting exultation’ (International Piano)

„Dieses Oratorium [Uz] hört sich wie ein musikalischer Krimi an“ (Die Zeit, Germany)