„Alban Gerhardt spielt sich intensiv von einem Ausdrucksbereich zum anderen, Weigle und seine Musiker stehen ihm angespannt mit ihrem nass-brillanten Klang zur Seite“ (Pizzicato, Luxembourg)» More

‘Gerald Finley's interpretation is inward, poised, heartbreaking in holding back. The more quietude he brings to each song—as in the early sequence of Erstarrung (Numbness), Der Lindenbaum (The Linden Tree) and Wasserflut (Flood)—the more potent his reading. Julius Drake, accompanying, is equally lyrical, fluent, expressive. Neither lets the music shout. They respond minutely to the shifts from bright to dark, major to minor. The disc lends itself to repeated exploration, a bonus in itself with so familiar a work’ (The Observer)» More

‘Tallis's Christmas Mass … is sung here with customary perfection by The Cardinall's Musick, who polish other Tallis gems alongside it, most notably Videte miraculum, a work of such sensuous beauty it quite eclipses the Mass’ (The Observer)» More

‘Master of the Queen’s Music from 1975 until his death in 2003—a post that becomes free again this month—Australian-born composer Malcolm Williamson left a body of work scarcely performed today … his six freewheeling piano concertos are often reminiscent of Poulenc, sometimes of Bernstein … a box of surprises’ (The Independent on Sunday)» More

‘The delicate, wistful Gavotte joins a similarly beguiling Intermezzo for string trio between Zoltán Kodály’s two string quartets, tougher nuts than either of the two miniatures and stylistically fascinating. Kodály’s studies in Paris in the early 20th century clearly rubbed off in certain similarities that the First Quartet betrays to the milieu of Debussy and Ravel, but it is Gallicism with a Hungarian accent. The Dante Quartet responds both subtly and animatedly to this piquant, passionate music, as it does in the Second Quartet, alert to its mix of astringency and lyricism’ (The Daily Telegraph)» More

‘Williamson is a fascinating composer who wrote temperamental music without any hint of academia in its bloodstream. This very special and extremely attractive set will further enhance his standing. Superb music and music-making’ (MusicWeb International)» More

‘Just what the musical doctor ordered! A very welcome chance to extend our appreciation of a terrific if underrated composer … this is marvellous stuff, music of dazzling invention, disarming wit (and not the sort you tire of), generosity of spirit and a lust for life (although, sadly, Williamson’s last years were wracked with illnesses). Admirers of Bartók’s and Prokofiev’s piano concertos will find much here to enjoy, so too those who relish song, dance, irony and a big heart, and a composer capable of being acerbic and romantic in equal measure. To all concerned with the making of this release, take an award … no, take several’ (Classical Source)» More

„Im Klavierkonzert [werden] triumphale Gestik und aristokratischer Habitus allerdings hinter eleganten Arabesken und melancholischen Passagen verschleiert … parallel zu den Orchesterstimmen, von Howard Shelley genau balanciert, kann Roberto Prosseda den nicht allzu virtuosen Duktus makellos in die „Chasse“, in die sehr liebliche Romanze und schließlich bis zur perkussiven Tarantella nahtlos integrieren“ (Piano, Germany)» More

‘This three-CD set presents Marc-André Hamelin, another formidable pianist, in Busoni works from the first quarter of the 20th century. The music draws from the heritage of Bach, Liszt and Wagner, while taking modern paths and anticipating atonality. Even when a particular piece seems amorphous or elusive, these elegies, fantasias, sonatinas and more are continually fascinating, especially in Mr. Hamelin’s commanding performances’ (The New York Times)» More

„Gerhardt und das Rundfunk-Sinfonieorchester Berlin unter Sebastian Weigle haben zu einer in sich durchaus stimmigen Interpretation gefunden … ein echter Hinhörer ist das Duo op. 43 für Violine, Cello und kleines Orchester … diese ist wirklich gut geglückt … das passt zu dem schwärmerischen, fantasievollen und weit ausgesponnenen Dialog, der streckenweise an ein Liebesduett erinnert“ (NDR, Germany)» More

‘The Leonore Trio do much to persuade us to listen anew to Arensky—too often dismissed as a lightweight Tchaikovsky—playing with sumptuous breadth and beguiling warmth in the first trio, and with appropriate seriousness of intent in the altogether graver second. Revelatory playing’ (The Observer)» More

‘In the hands of the dream partnership of Gerald Finley and Julius Drake, the 24 settings of poems by Wilhelm Müller are meticulously performed with a fine ear and eye for detail and some stoicism; big-hearted baritone Finley opts for resignation over self-pity, hollowness and emptiness not being in his vocabulary, while Drake’s playing is as liquid as ice thawed by the rays of a wintry sun’ (The Independent on Sunday)» More