‘The First Concerto’s mournful opening before a burst into hyperactive chatter makes an attractive start, its second subject as accessible as you could wish … in the 1971 Concerto for two pianos and strings, where Piers Lane is joined by Howard Shelley, everything is whipped up into an outwardly exhilarating but impersonal blend. The ghosts of Ravel, Prokofiev and Shostakovich hover close to the surface … what is memorable is Lane’s playing. Whether dazzling or reflective, he shows a total empathy for Williamson. He is superbly partnered by Shelley and the Tasmanian Symphony Orchestra. Sound and balance are outstanding, and Hyperion’s presentation is both lavish and informative’ (Gramophone)

‘Australian-born but UK-domiciled Malcolm Williamson (1931-2003) was once the most commissioned composer of his time … he is little played now and few discs devoted to his music seem readily available either here or down under. This two-disc set from Hyperion makes handsome amends in collating all his piano concertos, composed between 1957 and 1994. The solo parts demand virtuosity and energy in equal measure, and Piers Lane sparkles inexhaustibly … compulsively listenable … an absorbing and highly entertaining experience’ (International Piano)» More

'Miles's voice bursts into the first line of the song with a vengeance … a rich and resonant tone, even throughout its easy range, excellent diction and a strong identification with the text' (Opera Now)» More

‘The soaring, optimistic opening of Brahms's String Quintet No 2 in G major Op 111 is one of the great moments in chamber music: upper strings, enriched with the addition of a second viola, shimmer and quiver, while the cello utters a plunging, jumping melody in G major. This mood of excitement continues, with a magnificent, lyrical violin tune, almost without let-up—a wistful, minor-key second subject notwithstanding—to the end of this long, burgeoning first movement. It's reason enough to try this inspiring Takács Quartet disc with Lawrence Power as guest viola, his big-boned sound matching the expressive energy of the Takács's own Geraldine Walther. The String Quintet No 1 in F major is less driven, more wistful and just as captivating’ (The Observer)» More

'McCreesh and his massed Anglo-Polish forces have given us a 'Seasons' that thrillingly catches both the work’s bucolic exhilaration and its invocations of the sublime. And for sheer sonic splendour it’s in a class of its own' (Gramophone)

‘Tiberghien's limpid phrasing, radiant cantabile and velvety, cushioned tone proves a continual source of pleasure, complemented ideally by Ibragimova's silvery-toned exploratory zeal, as she delights in Mozart's gentle textural interplay’ (BBC Music Magazine)

„Die sechs Konzerte werden von Piers Lane mit einem Maximum an Differenzierungsvermögen gespielt, und da auch Howard Shelley aus dem Orchester viele Farben herausholt, findet Malcolm Williamsen mit ihnen engagierte Interpreten, die seine Musik optimal zur Wirkung bringen“ (Pizzicato, Luxembourg)» More

‘Both quintets are among his most neglected works. These fine performances make a strong case for them’ (The Sunday Times)» More

‘A distinguished addition to the Winterreise discography which owes much to the pianist's contribution. The recording is technically impeccable with superb balance between voice and piano’ (The Sunday Telegraph)» More

‘The Goldner weigh every chord to perfection, and make the textures utterly transparent, while their partnership with Lane in the quintet is exemplary’ (The Guardian)» More

‘Iestyn Davies's voice is clear, full and plangent, with crisp diction and unassuming eloquence. (These are qualities the young lutenist Thomas Dunford has, too.) Mr. Davies saves the best for last on this disc of Dowland songs: a wrenching rendition of Now, oh now I needs must part’ (The New York Times)» More

‘An all-Russian fountain of melodic charm, embroidered with an alternating full and delicate tracery … the Leonores play with truly glorious affection and security, and it is hard to imagine playing of a greater empathy. Balance (there is no artificial highlighting) and sound are ideal’ (Gramophone)