„Stephen Hough's Brahmsian credentials were established relatively early in his recording career, with a scintillatingly brilliant, grandly heroic and refreshingly individual account of the B flat Concerto. A recording of the F minor Quintet with him and the Takács Quartet was predestined to be a 'must have'. And so it is. The integration of piano and strings, like the integration of the strings amongst themselves, is exemplary, textures are clear and monumental in equal measure. the rhythmic thrust, on the whole, is weighty but never stodgy, and the music never for a moment flags … the scherzo, with its combination of immensity, intimacy and vital physicality, gives us, as does the finale, the very essence of Brahms playing at its best“ (Piano, Germany)

‘The first and last movements are serious essays in solid musical thought, with ideas clothed in solid harmonic dress. The inner ones are hardly less weighty, but serenely beautiful and energetically vigorous, respectively. The Takács Quartet and Stephen Hough are ideal interpreters, and the quartet's approach to the mellower—but equally rewarding—A minor work is likewise impressive’ (Manchester Evening News)

‘The Takács Quartet bring a huge sense of enjoyment to both the Piano Quintet and the String Quartet Op 51 No 2, and it's clear that this chamber music is being revelled in by its players as much as its listeners. Stephen Hough's playing—shiny-toned, conversational, intelligent, well-balanced—is a special delight’ (Classic FM Magazine)

‘Stephen Hough and the Takács know what they are doing, and they do the glorious work proud. The beautiful A minor quartet also gave me pleasure’ (The Sunday Times)

‘The Takács Quartet … reveal anew the extraordinarily imaginative way in which [String Quartet No 2 Op 51] begins, and breath air into the intricate textures which precede the vacillating second theme. There's an absolute unanimity to their playing … this latest reading [Piano Quintet] has fire and passion aplenty, and the recording places Hough pleasingly within the overall texture … there's a feeling of coming together of ideas, with these artists—masters of colour all of them—sparking off one another in a very unstudio-ish way. And throughout, Hough's virtuosity makes light of Brahms's unforgiving textures’ (Gramophone)

‘These new versions from Stephen Hough and the Takács Quartet strike me as even better, and in more modern sound … in both Quintet and Quartet the performers give bright, focused, alert, almost 'classical' readings, very different from the ponderous brown studies that marked Brahms performances of yesteryear … this is an altogether recommendable release’ (BBC Music Magazine)

‘This is the finest recording of Brahms's Piano Quintet since the electrifying Eschenbach/Amadeus version … Stephen Hough and the Takács Quartet push the music about as far as it can go … one senses from the start that [Hough] is really fired up and the Takács follow him every inch of the way with playing of beguiling tonal sophistication and thrilling intensity … this is an exceptional account of a truly exceptional masterwork … the Takács gently caress and cosset this extraordinary music with a glowing sensitivity and insight … highly recommended, especially to those who normally find Brahms a composer they admire rather than fall in love with’ (International Record Review)

‘Highly recommendable … Brahms is fortunate here’ (Gramophone)

‘The New Budapest are outstanding for the mellow warmth and refinement of their corporate sound. Hyperion's distinguished new issue was needed … this is a top recommendation for all these works’ (Classic CD)

«Le Nouveau Quatuor de Budapest est véritablement en phase avec Brahms» (Répertoire, France)

‘This exceptional recording … the earlier work, profound and deliberate, is the ideal companion to the later, more graceful piece’ (The Age, Melbourne)

‘Just the team to make these scores work better than you might have thought possible. The austere Quartet in A minor benefits from the Takacs' warm tone and courtly romanticism. The late B flat quartet can feel lightweight, even inconsequential, in other hands. Not in this reading, at once expansive and refined … they're best in show’ (The Dallas Morning News)