‘This remarkable set contains probably the most significant recordings of these masterpieces ever issued … Steven Isserlis is not one to force his personality upon everything he plays, with the result that all such music has a similar patina of expression, and in the Op. 5 Sonatas he plavs a perfect role to Levin’s more significant part, yet at all times he infuses the cello line with character and a full tone which makes a perfect complement to the inherent musical argument … These great masterpieces receive splendid accounts from these masterly musicians and the three lighter sets of variations find Beethoven and his instrumentalists in less profound mood. They are most winningly performed … The recorded quality and instrumental balance are first-class, as we have invariably come to expect from this company’ (International Record Review)» More

‘Isserlis brings great freshness and vigour to Beethoven’s complete works for cello and keyboard. Levin's fortepiano is an ideal match, with a sinuous, intimate sound well captured by Hyperion's microphones. Recommended’ (Classical Music)» More

‘Layton and his orchestral players begin with tremendous verve, but there is infinite variety in this seasoned Bach conductor's trajectory of the six cantatas, with the lively, mixed-voice Trinity choir—singing in excellent German—and elite British soloists … James Gilchrist's Evangelist here could hardly be bettered among his compatriots, incisively declaimed and subtly nuanced’ (The Sunday Times)» More

‘For me nothing is more majestic, or better conveys the sheer joy of Christmas, than the opening chorus of Bach’s Christmas Oratorio. And it sounds especially well on a new Hyperion offering conducted by the hugely talented Stephen Layton, with the drums and brass of the Orchestra of the Age of Enlightenment hammering out one of Bach’s greatest celebratory melodies. And then the light, bright tones of The Choir of Trinity College, Cambridge enter, calling upon us all to ‘Rejoice, exult… Praise what the Most High this day has done’. It’s impossible to resist’ (The Mail on Sunday)» More

‘The gift I'd choose for myself would be Marc-André Hamelin's magisterial three-disc survey of Busoni's later piano music—elusive and haunting material from a pivotal figure’ (The Times)» More

‘The way in which Hough and conductor Mark Wigglesworth drive the opening movement of the First Concerto to its conclusion is thrillingly physical; at the other extreme, the delicacy of his playing in the finale of the Second, and the lilt he brings to some of its episodes, are delights’ (The Guardian)» More

‘This is a distinctive and personal celebration of Jansen's highly inflected playing in the company of friends … most noticeable in the general concerto canvas is how Jansen's quixotic, bold and spontaneous toying with Bach so often finds itself checked by her 'friends' (Gramophone)

'The piece is performance to a high standard, with tenors Andrew Kennedy and Allan Clayton making the most of the Spirit of Christianity and the Half-Hearten Christian respectively. Soprano Sophie Bevan suggests all the pleasures of Worldliness, and soprano Sarah Fox exemplifies a compassionate Divine Mercy' (BBC Music Magazine)

‘A welcome tribute to Gieseking's smooth touch and sophisticated musicianship. With music from Bach to Roussel—and Gieseking himself—and audio lovingly restored, it's very special’ (BBC Music Magazine)

‘The fact that the music seems to course through the very veins of the singers and players, not to mention Layton himself, is one of the qualities that make this Christmas Oratorio such a telling, affecting and inspiring experience, judiciously balancing jubilation, devotion and contemplation’ (The Daily Telegraph)» More

‘Hough has been regularly programming Brahms in recent concerts and his performances here show his usual thoughtfulness, elegance and brilliance. He’s especially striking in the mature expanse of the second concerto, often flecking solo phrases with miniature hesitations as if pausing to savour the taste of a choice biscuit … as for the slow movement, Hough’s penetrating playing, so limpid and pensive, is still echoing in my head alongside Marcus Pouget’s beautiful cello solos … both concertos are marvels of the repertory and Hough and the Mozarteum players polish their wonders anew’ (The Times)» More

'The relatively small orchestra, clear textures and buoyant pacing convinces the listener that this is no dull oratorio but a genuinely dramatic work … the whole cast are admirable … all sing with clarity and freshness, similar virtues to those displayed by the orchestra, and Ian Page’s pacing is unerringly convincing' (MusicWeb International)» More