‘If you like your Schubert unfussy and unsentimental, then this recording from Garrick Ohlsson might be for you … Ohlsson emphasises the kinship between the two works, with an interpretative approach that remains broadly the same. His articulation is never less than precise, his fingers always nimble, emphasising the horizontal lines of the music. His touch is robust but never overpowering, often delicate, finding carefully judged shades of piano and pianissimo’ (BBC Music Magazine)

‘This could be just the recording both these symphonies need’ (BBC Music Magazine)» More

‘The fluidity and poetry of Ohlsson’s playing are a joy. I sometimes think that what sounds like the undue protraction of the last movement [of D959] is symbolic of Schubert’s unwillingness to let go of his hold on life while still so young, and Ohlsson catches the mood of perseveration inherent in those desperate, breathless, cascading roulades and restless, left-hand repetitions. Excellent sound enhances the virtuosity of Ohlsson’s playing … a fine achievement’ (MusicWeb International)

‘The unique qualities of each work are rendered with absolute clarity and precision by the Takács Quartet; the balance between instruments seems perfect and every nuance thrillingly audible. This is a brilliantly conceived program, with performances of the highest calibre. The sound quality is of Hyperion’s usual excellent standard: spacious, resonant and impeccably clear. A faultless recording, and an early contender for the year’s best lists.’ (Limelight, Australia)

‘Marc-André Hamelin is a super-virtuoso who can untie the knottiest textures with a twist of jazz. In the finale of his Hyperion recording of the Reger concerto with Ilan Volkov and the Berlin Radio Symphony Orchestra, he throws off the sub-fusc to reveal a madcap frivolity that every other performance misses’ (The Spectator)

‘This very fine account of the Ninth wraps up a cycle that has been a distinguished contribution to the discography of Vaughan Williams’ symphonies. Martyn Brabbins has consistently displayed—as he does on this disc—great empathy for the music; he knows how to make it work. His cycle has been a very fine achievement and he’s been aided and abetted at every turn by the BBC Symphony Orchestra. They’ve played all the symphonies very well indeed and their collective skills are again on display on this disc. The recordings have been consistently well engineered and I’m inclined to think that engineer Simon Eadon has saved his very best till last; both of these recordings are highly successful, with the sound for Sinfonia antartica a singular achievement—even now, recalling the opening of ‘Landscape’ sends a tingle down my spine. The whole project has benefitted enormously, I’m sure, from the fact that Andrew Keener has produced the cycle; he’s a seasoned veteran of capturing VW’s music on disc. If you’ve been collecting Martyn Brabbins’ cycle, you probably won’t need any encouragement from me to invest in this final disc’ (MusicWeb International)

„Mahan Esfahani geht diesen leichtgewichtigen Klassiker [das Martinů Konzert] gleich zu Beginn seiner Einspielung pfiffig und gewitzt an—auch dank der gleichermaßen luftig-transparenten Gangart des von Alexander Liebreichs geleiteten Prager Radio-Sinfonieorchesters … Mahan Esfahanis manuelle Sportlichkeit entpuppt sich dabei immerhin als eine Klasse für sich“ (Rondo, Germany)» More

‘The power and the dynamic contrasts are telling, the measured tread of the Andantino is compelling, and that Scherzo [of D959] both measured—slower than many—but capricious as well’ (BBC Record Review)

‘Absolutely wonderful: it’s really the BBC Symphony Orchestra in their sweet spot. Every section of the orchestra sounds magnificent. The strings just sound rich and very broad and deep, and very British—that unmistakable British string sound—and the same with the brass, and the wind sound wonderful, sparkling and painting the picture of what we need in the Antartica symphony so perfectly. Liz Watts in the outer movements is just wonderful, perfect for the occasion, haunting and otherworldly … there’s a sort of darkness to it which I think the orchestra’s captured perfectly here. And they’ve recorded this entire album in about two days at the wonderful Watford Colosseum: it’s practically a live recording and it’s absolutely breathtaking in its technical assurance … it’s incredibly well recorded, very satisfying to listen to: it’s like being there’ (BBC Record Review)

‘Sinfonia antartica exudes the chill and thrill of great music-making, the music itself of awesome power, vivid description and icy finality, presented here with tremendous attack and to disturbing effect, resigned rapture when required, totally focussed through the five movements … fine vocals from Elizabeth Watts and the ladies of the Chorus … Brabbins unfolds [No 9] inexorably, impassionedly, relishing the mellifluous flugelhorn, the three saxophones, and unleashes music of suspense, swirling emotions, and deep expression … Andrew Keener’s production values, stunning sound from Simon Eadon (assisted by Dave Rowell)—March last year, Watford—and a booklet note from Robert Matthew-Walker complete another desirable release’ (colinscolumn.com)

‘We must salute Hyperion, which has apparently recorded the last two albums of what will be the complete Machaut music, all from the same four wonderful singers. We look forward with bated breath to the completion of that project’ (Gramophone)

‘[Hough] brings focus and variety to each of these aural morsels, amply rewarding the concentration required on the part of the listener. Mompou’s folk-inflected idiom, pervaded as it is by Catalan traditions, poses few challenges to 21st-century ears either harmonically or rhythmically. Rather the ear is drawn to discernment of the various manifestations of naivety in this ‘primitivist’ palette. The clarity and simplicity of Hough’s approach allows one to readily perceive the warp and woof of Mompou’s rhetorical loom. Another aspect of Hough’s interpretations that seems more developed than in the readings of many of his colleagues is the air of mysticism with which all four of the books are imbued. Those interested in Spanish musical traditions, as well as aficionados of the reticent but never less than sincere Mompou, will surely be grateful’ (Gramophone)