‘The highlight of this collection is the Schumann Symphonic Etudes … each of the variations is well-characterised. There is drama and energy on the one hand, and lyricism and richness of expression on the other, with superb attention to detail…This is an impressive tribute to a fine British pianist’ (MusicWeb International)

«Avec ce quatrième volume de son intégrale des Sonates de Beethoven pour le label Hyperion, elle est à son meilleur. On a là un piano à la technicité exemplaire. Tout y est perfection, ou presque: les courbes mélodiques admirablement bien construites et dessinées, les nuances qui brillent par leur finesse, leur profondeur et leur variété, la polyphonie admirable de clarté (la fugue de l'Allegro de l'Opus 101!). Angela Hewitt alterne les climax avec le plus grand art et virevolte sur le clavier avec un évident plaisir. Son Beethoven est vivant, limpide et semble couler de source. Il faut dire que la pianiste canadienne suit la partition de très près, jusque dans l’intensité d’un soupir pourrait-on dire. Elle restitue le tout avec la plus grande précision, dans un acte de foi manifeste» (Classica, France)» More

‘Marc-André Hamelin’s performance of the Busoni Piano Concerto for Hyperion is one of the finest ever recorded of that mammoth work, and now he has produced what is arguably the most important collection of the solo piano music since Geoffrey Douglas Madge’s epic six-disc survey for Philips in 1987 … All the most significant works are here … Hamelin includes some rarities Madge omitted, notably Busoni’s first foray into 'Red Indian’ music, the spellbinding Indianisches Erntelied (not published till 2001) … As to the performances, they are all you could hope from a player of such quality, laced with repertoire he might have been born to interpret. This is playing of a very high order, such as—despite the now numerous competing versions of the Elegies, Sonatinas and Toccata—one seldom hears. Hamelin is well-nigh ideal in sensitivity of phrasing, clarity of tone and delineation of voices, not to mention subtlety of pedalling … He reminds you that you are listening to one of history’s greatest piano composers, a philosopher of the piano to whose ear and mind the whole of European concert music seems to have been continually present. A fabulous set, almost beyond praise’ (BBC Music Magazine)» More

«L’impeccable virtuosité de Marc-André Hamelin se joue des pièges recélés par ces redoutables partitions; sa quête faustienne, à la fois analytique et méditée, assume la dimension philosophique quasi médiévale de cette alchimie sonore et nous en livre une référence absolue» (Classica, France)» More

‘This new Hyperion recording of Franck's Symphony in Simon Johnson's transcription and played by him on the great organ of St Paul's Cathedral is an impresssive and enlightening experience. Johnson clearly has the measure of the work … I was enthralled throughout. The Cantabile and the great Pièce héroïque are very finely performed … the detail in the recording is surprisingly good considering the venue, and the engineers have to be applauded for capturing this magnificent instrument in its more refined and gentle registration … Johnson's performance is beautifully paced throughout’ (International Record Review)» More

‘Transcribing Franck's D minor Symphony for organ works extremely well. Simon Johnson's performance on the instrument at St Paul's Cathedral is deftly paced, and the shorter pieces are also enjoyable’ (BBC Music Magazine)» More

‘Dame Moura's virtuosity quietly stuns. Her Mendelssohn, Liszt and Litolff are fleet and joyful; Granados's The Maiden and the Nightingale and Debussy's Clair de lune sing from the heart’ (BBC Music Magazine)

'Page and the Orchestra of Classical Opera have an unerring knack for making the most out of the young Mozart's characterful music … tenors Andrew Kennedy and Allan Clayton sing with an ideal synthesis of muscular directness and Mozartian elegance … [Worldliness's arias] are both sung with mischievous elan by Sophie Bevan' (Gramophone)

'From being regarded as a member of the British avant garde in the late 1950s, through his performances as a jazz pianist and accompanist, to composing operas for Sadler's Wells and Covent Garden and scores for high-profile British and American movies, Bennett has commuted effortlessly between styles. These unaccompanied choral works, immaculately presented by the BBC Singers conducted by Paul Brough, includes pieces from the last 13 years of that career' (The Guardian)» More

'This debut recording by the clean-voiced and agile Contrapunctus ensemble includes a genuine discovery, perhaps expected when scholar/conductor Owen Rees is in charge. Rees has built a reputation as a seeker-out of lost choral glories of the sixteenth and seventeenth centuries and here reveals a 'new' work by Thomas Tallis. Previously thought to be an instrumental piece marked simply 'Libera', Rees makes a convincing case that its underpinning is the plainchant antiphon, Libera nos, salva nos, indicating that Tallis intended it for voices. The choir sings it and works by Byrd, Philippe de Monte, Pedro de Cristo and Martin Peerson with admirable, firm-toned fluidity. More, please' (The Observer)

‘The individual strands of the chamber version make the music even more claustrophobic than it need be, so that by the end of the half-hour the feeling that you are in the sauna is overwhelming. This team makes sure that you share their efforts to the full’ (BBC Music Magazine)

‘They play with a control that brings real dramatic immediacy to the pieces … all the players converse with a single voice—the herding calls of the third movement [of the Schubert], for instance, have their own distinct colour simply by virtue of the other-worldly accuracy of their tuning’ (Gramophone)