„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)

‘This estimable Kreisler compilation from the young British violinist Jack Liebeck heralds his new alliance with Hyperion, and one could hardly imagine a more propitious start to their relationship … these disarmingly affectionate and often brilliant accounts of these Kreisler favourites prove unusually satisfying … particularly superb are the transcriptions of Dvořák’s E minor Slavonic Dance, Op 72 No 2 and the ‘Danse espagnole’ from Falla’s La vida breve, both of which are hugely demanding for the violinist and played with élan and bravura here by Liebeck … this is unquestionably a Kreisler disc to which I’ll be returning often and always with pleasure, for these spirited and discerning readings have so much to commend them as to make even minor qualms seem churlish. Liebeck and Apekisheva are heard at their brilliant best in Kreisler’s own formidably taxing reworking of the G minor ‘Devil’s Trill’ Sonata by Tartini. There is indeed something of the Mephistophelean about this astounding account and Liebeck sounds stunning in Kreisler’s intimidating cadenza’ (International Record Review)» More

'These live performances taken from Lorin Maazel's recent cycle with the Philharmonia in London took me by surprise … never sacrificing spontaneity to predictability, shape, purpose and direction are maintained throughout individual movements and each symphony as a whole. Excitement is full-on and spectacular, yet movements of intimacy can be utterly captivating; overall tension never sags. Mahler's inner narratives are drawn with conviction, flair and vivid imagery wholly at one with the spirit of the music' (International Record Review)» More

'This is the third volume in the impressive coverage of all Poulenc's songs masterminded by the superb pianist Malcolm Martineau … the present set any slight piano dominance comes from the sheer character of Martineau's playing. This is immediately effective in the opening group of four Airs chantes, sung with engaging character and immediacy by Sarah Fox. In 'Colloque', which follows, Loma Anderson is joined by Thomas Oliemans, which brings most beautiful singing in a nostalgic love duet' (Gramophone)

‘A Winterreise of vision and searching intensity … Finley’s rich and beautifully modulated baritone voice is also one that nurtures words and can encapsulate the musical images with which Schubert clothes them … for instance in his veiled, hushed and then anguished interpretation of 'Auf dem Flusse’, again with Drake establishing an undercurrent of desolation. Finley can exercise his lyrical powers in such songs as ‘Der Lindenbaum’, ‘Die Krähe’, ‘Letzte Hoffnung’ or ‘Täuschung’ but it is not a lyrical talent alone: more to the point, it is the spectrum of tonal colouring, inflection and instinctive phrasing which lend this performance of Winterreise such an absorbing sense of inner communion with the soul. Nothing is exaggerated; but on an intimate scale Finley and Drake find the nub of the dramatic psychological substance of these songs’ (Gramophone)

«Cédric Tïberghien, déjà remarquable dans l’œuvre pour violon et piano avec Alina Ibragimova (Diapason d'or, cf. no 571), relève sans la moindre faiblesse les défis techniques—Szymanowski est redoutable pour les doigts. Dans les deux triptyques, il souligne la filiation lisztienne, souvent négligée, par un piano généreux, orchestral. Grâce à un respect scrupuleux des infinies nuances d’expression ou d’agogique, la ligueur formelle s’unit à liberté rhapsodique, la sensualité des couleurs à la mobilité des rythmes—signature de Szymanowski. Langueurs capiteuses de Schéhérazde, grimaces douloureuses ele 'Tantris le bouffon', cyclothymie névrotique de la 'Sérénade de Don Juan', rien de l’esprit de Masques ne lui échappe. Dans Métopes, il exalte les jeux d'eaux de 'L'Ile des sirènes', les séductions capiteuses de 'Calypso' (deux pages également marquées par l'inimitable Richter, Decca), les mouvements chorégraphiques, grâce ou transe, de 'Nausicaa'. Au-delà de la virtuosité, les Etudes op. 33 s’apparentent bien à des pièces d’atmosphère. À des improvisations fantasques où Tïberghien sait creuser du mystère» (Diapason, France)» More

«Le Concerto pour deux pianos et cordes (1971), instaure une ambiance davantage tendue et moderniste : rythmes acérés, cordes plus froides, mélodies assez heurtées … étrange Lento semblant venir tout droit des Premiers hommes dans la Lune de H.G. Wells; les harmonies des pianos mêlées aux cordes angéliques dans les aigus rappellent Messiaen … défendu avec conviction et sa technique brillante par Piers Lane» (Diapason, France)» More