‘Amazing too is Jonathan Plowright's ability to project these pieces while keeping every voice and nuance in balance. Performances of rare identification and understanding make this a very special release in Hyperion's Bach Piano Transcriptions series’ (BBC Music Magazine)

‘Rummel's background was cosmopolitan. He died in 1953 in his late sixties, and left a few recordings but nothing that I've heard even begins to compare with the rapt and refined playing of Jonathan Plowright on these remarkable CDs’ (The Independent)

‘The English pianist Jonathan Plowright performs all of these pieces to perfection: his technical gifts shine in the complex textures … but he can handle simple and poetic works [just fine too]’ (American Record Guide)

‘This is a major addition to the catalogue and one of the finest piano recordings of recent years’ (Classic FM Magazine)

‘Time and again you are reminded of real technique as opposed to a more familiar, glib and colourless alternative, and it is surely no exaggeration to say that if such playing is anything to go by you are listening to one of the finest living pianists; the possessor of qualities that should no longer remain a secret. Hyperion's sound is of demonstration quality, a crowning touch to musical and pianistic greatness. These are treasurable records’ (Gramophone)

‘Marvelous, both Reger and Becker balancing the intimate moments with the public ones’ (Fanfare, USA)

‘A new kind of Bach sound which belongs to both piano and organ … [BWV14] is slow and thoughtful, yet is made serenely beautiful in Becker's glowing performance … fascinating, and I do recommend you to try this collection. It really is rewarding’ (Gramophone)

‘Markus Becker is a heroic exponent of this obscure yet satisfying repertoire … the core of the two discs is Reger's series of Chorale Prelude transcriptions, in which … he finds a profound and plangent expressiveness … a fascinating addition to Hyperion's series of Bach transcriptions’ (BBC Music Magazine)

‘D'Albert's versions of the the C minor Passacaglia, and the Preludes and Fugues in C minor and A major, are extraordinary and exquisite, and Lane plays them with a ravishing finesse that belies their often monumental difficulty’ (The Guardian)

‘Masterly performances by Piers Lane. D'Albert's versions … didn't attempt to make the instrument sound like a cathedral organ. In his ingenious hands, they become compelling piano pieces’ (The Sunday Times)

‘I found Lane's Prelude (Toccata) and Fugue in D minor, BWV538 unassailably alive to the possibilities that both Bach and d'Albert leave open. The rhythmic impulse never flags, the pithy contrapuntal detail keeps afloat and there is a subliminal sense of goal to keep the thing intact. The A major Fugue, BWV536 shows the pianist highly authoritative and, for me, underlines the highest musicianship’ (International Record Review)

‘Lane takes no prisoners in these sonorous and exhilarating performances, conjuring up from the Steinway's richly resonant bass a cathedral's 32 foot pedal division to thrilling effect … I guarantee you will come away awed anew by the genuis of Bach and amazed by the ingenuity of d'Albert’ (Gramophone)