„Seine Interpretation dieses Werks [Schumanns ‘Carnaval’] halte ich für eine der hinreißendsten, die ich je gehört habe“ (Pizzicato, Luxembourg)» More

„Leslie Howard und seine drei Streicher bringen das Aufgewühlte und das Lyrische der Musik recht gut zum Ausdruck“ (Pizzicato, Luxembourg)» More

‘The Seasons … are perhaps the most immediately attractive of Tchaikovsky's piano works. Selections of them regularly appear in recitals and on disc, but for his first release on Hyperion Pavel Kolesnikov has opted to play all 12, alongside the Six morceaux Op 19, which was composed three years earlier. In 2012, Kolesnikov took first prize in the Honens piano competition in Canada, and on the evidence of his effortlessly refined playing here, he was a worthy winner … a charming, rewarding disc’ (The Guardian)» More

„Cembalo, Fortepiano, moderner Flügel? Die Diskussion ist sinnlos. Jeder soll es für sich entscheiden. Dem Rezensenten bleibt es, seine Meinung zum Spiel zu äussern. Und das ist in diesem Fall ein Spiel auf dem modernen Flügel. Danny Driver lässt keine artikulatorische Nuance der Suiten unausgespielt, die Verzierungen sind reich, jede Phrasierung ist gepflegt, das Spiel generell elegant, ohne jemals auch nur den Anschein erzwungener Bravour zu erwecken. Hoch alert ist das agogische Feinfühlen, vital und energisch die abwechslungsreiche Rhythmik. Auch klangfarblich lässt der Pianist keine Wünsche offen“ (Pizzicato, Luxembourg)

'It's their year of composition, 1917, that links the four works for violin and piano in Tamsin Waley-Cohen and Huw Watkins' collection, all by composers who had either not been affected by the rise of modernism in the previous decade, or in Debussy's case, who had played a crucial part in it but had taken his own music in a different direction. Each disc has a sharply contrasted pair of works. Sibelius's Five Pieces is the least substantial here, charming and expertly written for what was his own instrument but is really just a sequence of salon miniatures which are followed by Respighi's expansive sonata, full of rhapsodic violin lines and grandly rhetorical piano writing. Waley-Cohen and Watkins relish all that, but they seem more at home in the Debussy and Elgar works. The former is given a wonderfully subtle, introspective and touching performance; the latter is by turns typically bluff and elegiac, leaving just enough room for doubt in the optimism of its finale' (The Guardian)

‘Celebrating the work of a singer described by Voltaire as an ‘adorable nightingale’ is a terrific idea for a recording, especially when it has been prepared with such care and performed so stylishly … from the start, it’s clear that Carolyn Sampson is an ideal exponent, stylishly supported by Ex Cathedra and its period-instrument orchestra … this is a lovely disc, a most attractive programme supported by Graham Sadler’s illuminating and extremely interesting note (in a booklet that also includes complete texts and translations). The sound is up to Hyperion’s usual standard, capturing Sampson’s voice extremely well, in a natural balance. The whole production has provided me with hours of pleasure’ (International Record Review)» More

‘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

'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