‘Binns has an uncanny ability to absorb and convey the character of a vast array of music; whatever he plays is marked by both sympathy and commitment … this release should simultaneously boost both your spirits and Binns’s reputation. The restorations are expert – a special boon in the Rubinstein and Alkan works … fine commentaries by both Gramophone’s Jeremy Nicholas and APR’s Mike Spring only add to the festivities’ (Gramophone)

'Prosseda is een meester-verteller, die de kunst van het doseren door en door beheerst' (De Standaard, Belgium)

‘Lim's sincere, searching voice and powers of communication always come across in a performance well worth hearing’ (Gramophone)

‘Lim's luminous tone belies his years: it's hard to credit he was all of 21 when giving this performance in New York's Carnegie Hall … the close recording gives away no hint of a live audience while complementing what is fundamentally an intimate address to the cycle: again, you could almost forget (unless actually playing it!) that here is some of Bach's most showy and extrovert keyboard writing’ (Pianist)

‘The 21-year-old pianist gives a fine, muscular account of the Goldbergs, with touches of playfulness, in this live recording from Carnegie Hall’ (The Guardian)

‘Dazzling accounts of Russian ballet transcriptions … boy, does he succeed … his ability to carry off a grand gesture (those breathtaking scales! those arpeggios!) shows him to be a real creature of the theatre. The Sleeping Beauty Concert Suite is as infused with dance, romance and joy as any version I've heard’ (Pianist)

‘One of the great Bach pianists of the second half of the twentieth century—I don’t think there’s any question about that … it’s just going to kill you if you’re not careful when you take it out of its box’ (The Ultimate Classical Music Guide)

‘Humility and warmth marks Lim's treatmeant of the opening theme, with the 30 variations offering well over 30 different varieties of colour, texture, emotional shading and rhythmic vitality … Lim's youthful panache also serves Bach in another way, widening the sense of wonder that all great Goldberg performances need to convey’ (The Times)

‘This is a very fine disc indeed. David Hill and Ikon have shone a welcome light on an underappreciated part of Herbert Howells’ output … their singing is polished, full of vitality and the ensemble is expertly balanced. In David Hill they couldn’t have a better guide to this repertoire. In summary, the performances are ideal … if you love Howells’ music but are less familiar with his secular choral pieces you will find this CD very rewarding indeed’ (MusicWeb International)

‘This is a chorus that has it all … David Butt Philip is an absolutely wonderful Gerontius … the classic choice’ (BBC Record Review)

‘It's a fantastic sound … so beautifully done’ (BBC Record Review)

‘Surpassing every one of Rzewski's technical challenges, giving an electrifying performance, the Canadian made this recording in 1998 and it is still a benchmark … all is heard in fantastic recorded sound—you're in the room with the bright-toned instrument, marvelling at its tuning at the outer edges of the keyboard’ (BBC Music Magazine)