‘The long shadow of Brahms fell over the many rising composers in Vienna at the end of the 19th century, and his special influence on Alexander Zemlinsky is clear in the younger musician’s two completed symphonies, here played with Brahmsian breadth and sway by the BBC National Orchestra of Wales, conducted by Martyn Brabbins … the symphonies in D minor and B flat major are colourful pieces in the rich turn-of-the-century mosaic of Austrian art’ (The Independent on Sunday)» More

‘More exciting piano playing awaits in Cédric Tiberghien’s recital of études and character pieces from the early 20th century by the Polish magician Szymanowski. This kaleidoscopic, richly perfumed music requires an extremely delicate touch and an ability to dart over all parts of the keyboard at the same time. No problem for Tiberghien: in L’île des Sirènes from the set of Métopes, the notes’ liquid flow made my jaw drop and my knees give way. Be prepared: Szymanowski in Tiberghien’s hands is a potent drug indeed’ (The Times)» More

‘The Dante Quartet give us a glimpse of Kodály's rapid stylistic development in these crisply defined performances. The charming Intermezzo from 1905 shows the influence of Vienna still apparent in the young composer, but by 1908 he was finding his true voice with the pungent, folk song-inspired first quartet, played here with unapologetic vigour by the Dantes. Quartet No 2 combines the pentatonic influence of Debussy with more than a dash of Magyar pepper, the Dantes bringing the tumult of the finale to a gloriously rumbustious close’ (The Observer)» More

‘Beethoven's five cello sonatas … sum up a dazzling career. In the hands of Steven Isserlis, a great champion of these pieces, here accompanied on fortepiano by Robert Levin, they jump off the musical history page with an irresistible energy and then dance around the room … Levin's fortepiano playing lends frankness, high colour and tenderness by turn’ (The Independent on Sunday)» More

‘This set contains some of the finest Beethoven performances you are likely to hear. Steven Isserlis is on blazing form: every note lives, every movement is characterised with infectious relish; his range is breathtaking. The ensemble with Robert Levin is dynamic, intimate, often electric. There’s a sense of two powerful minds intensely engaged in Beethoven's dialogue … at its best, it’s unbeatable: highlights include a crazily impetuous finale to the Sonata Op 5 No. 1; Sonata Op 5 No 2’s limping introduction; a radiant opening to Op 69 which ends in an Allegro vivace of festive fire; the dreamy wildness of Op 102 No 1's ‘improvised’ slow movement and a Op 102 No 2 of tragic violence’ (BBC Music Magazine)» More

‘The elusive fusion of thematic intricacy, 'Baroque' rhetoric and 'proto-Classical' Sturm und Drang offered by the instrument are caught perfectly by Esfahani's supple touch and disarming sense of rhetorical pacing’ (Gramophone)

‘Esfahani's first solo disc provides a particularly welcome introduction onto the world stage for an artist matching, in 'expression', CPE Bach himself’ (BBC Music Magazine)» More

‘Hamelin's recent release of three CDs devoted to the late piano music of Ferruccio Busoni represents another milestone in an outstanding career … These three discs contain a number of pieces not previously recorded and also include a sampling of the numerous Bach arrangements Busoni is best known for. The programming is exemplary, the sound is alluring (from a Steinway piano recorded in London’s Henry Wood Hall) and the program notes are excellent. Bravo Hamelin!’ (The Whole Note, Canada)» More

‘While Russian Romanticism permeates Isserlis's idiomatic and skilful keyboard-writing, the harmonic language is strikingly akin to composers such as Holst, Bax, Scott and Bowen … Haywood's sensitive, nuanced, technically assured interpretations ought to generate interest among pianists seeking out unusual, effective and accessible short pieces. The disc's centerpiece and most substantial work is the multi-thematic Ballade for cello and piano, originally written for Pablo Casals. Guest artist Steven Isserlis's fervent, big-boned artistry surely does his grandfather's impassioned cello-writing proud. Hyperion's superb production makes this disc all the more welcome’ (Gramophone)

‘Kodály’s two string quartets tend to linger under the shadow of the mighty ‘six pack’ that his compatriot Bartók wrote over a period of some 30 years … but they deserve more attention than they’ve so far received … the two shorter works make for attractive makeweights … as to rival versions of the quartets, the gutsy Kontra Quartet (BIS) offer fine readings of both quartets but suffer from an excessively resonant recording; the Kodály Quartet (Hungaroton) are relatively underpowered, especially in the first movement of the First Quartet. Which makes this new album a secure recommendation for both works’ (Gramophone)

‘Kodály's music is invariably approachable, it is welcoming without avoiding complexity … the passion of the opening of String Quartet No 1 sets the tone, but this alternates with an almost neo-classical quality. Folksong shadows much of the work, but does not drive it … superbly played and recorded, these readings are of the highest order’ (BBC Music Magazine)» More

‘The latest disc from Jonathan Cohen’s virtuoso ensemble Arcangelo is a musical love story, complete with lovers’ quarrel, tearful partings and tragic endings. Bringing together the Sestinas from Books 6-8 of Monteverdi’s madrigals, the programme explores the gamut of the composer’s mature style, evolving from the crystallised 'prima prattica' perfection of Book 6 to the 'genere concitato' (agitated style) of Book 8. All of Cohen’s singers come from the world of opera, and it shows in performances that place the drama of 'le parole' to the fore. The astonishing harmonic flexibility and melodic narrative of Monteverdi’s writing translates here into urgent drama … among so much vocal athleticism, it’s still the instrumentalists of the ensemble that dominate, setting the disc apart from the excellent I Fagiolini recordings that come closest vocally to this kind of abandon. Sitting midway between the nervous energy of Alessandrini’s Concerto Italiano and the more measured intensity of Jordi Savall for the Book 8 works, Arcangelo’s musicians deploy rough-edged expressive risk-taking within a framework of complete stylistic control’ (Gramophone)