„Impossible de résister à l'attrait qu'exerce la musique de chambre de Brahms, avec ses épanchements contrôlés, sa force lyrique doublés d'une connaissance magistrale des possibilités techniques de chaque instrument … les 3 Intermezzi pour piano seul en fin de disque offrent un bis poétique et tendre“ (Pizzicato, Luxembourg)

«Dans les Intermezzi op.117, le poids de l'attaque restitue magnifiquement le parfum de chaque harmonie, l'exactitude de l'articulation fait ressortir la beauté de chaque voix, la sobriété de l'expression respecte totalement l'intégrité de chacun de ces trois joyaux. Marc-André Hamelin montre ici à qui ne le saurait pas encore, avec beaucoup plus d'évidence que dans son récent Concerto no 2 du meme Brahms, qu'il sait être bein plus qu'un formidable pianiste» (Diapason, France)

‘A typically lucid, expressive performance’ (The Sunday Times)

‘I doubt we will ever hear better recorded performances of the three piano quartets than we have here … Kate Gould's cello in the moving slow movements of Nos 2 and 3 is breathtakingly beautiful, while in No 1, Marc-André Hamelin's verve and articulation will make you smile and scratch your head in wonder’ (Classic FM Magazine)

‘Hamelin can produce an authentically chunky Brahmsian sound when requried. But his liquid beauty and delicacy of touch ensure that the strings are never overwhelmed. There is vigour and passion aplenty, too … you will hear more sumptuous performances of the vast A major Quartet, but few that sing as tenderly or bring such a dancing, Schubertian grace to the scherzo & finale. In the C minor, conceived under the shadow of Schumann's final illness, Hamelin and the Leopold Trio catch all of the first movement's brooding, youthful despair and keep the tense night-ride of a scherzo fleet and airborne’ (The Daily Telegraph)

‘The G minor Quartet (No 1) opens simply, with Hamelin shaping the line beautifully but unaffectedly, the Leopold players gradually entering, their playing filled with ardour. The Zigeuner-finale is irresistibly ebullient, with a jaw-dropping ending … the other aspect that is so impressive about these readings is the sense of absolute precision, which lightens the textures and keeps edges crisp … Hamelin and the Leopold get to the heart of the matter in the soulful Poco Adagio and while they in no way lack heft when it's needed, particularly in the opening movement, there's always a dancing quality to their playing which does much to illuminate textures’ (Gramophone)

‘A delight from start to finish: this is such cultivated and characterized playing, which becomes quite exultant in the finale. It's also beautifully recorded by Hyperion. Given that, this new set can take a well-earned place at the top of recommendations of these three works’ (International Record Review)

‘The image of Brahms, the heavily bearded, middle-aged Viennese master of absolute music, has tended to eclipse his younger self. We rarely hear the remarkable works that the 20-year-old firebrand from Hamburg was writing, mainly for his own instrument, the piano—works behind which there is often a more-or-less open programme, and which show the influence of Liszt as much as that of Brahms's later, beloved mentor, Schumann. So, this excellent disc is doubly welcome. Stephen Hough, with his powerfully sprung but flexible rhythm, rich variety of colour and touch, and command of deep-toned pianissimo, gives a compelling account of both the sonata and the four ballades’ (The Sunday Times)

‘Thoughtful, poetic and rich-toned readings of youthful Brahms. These pieces [Four Ballades] emerge as little gems, the songful Second as ear-catching as the haunted woodland sprites of the Third’ (Gramophone)

‘Stephen Hough is a great pianist, one of the finest now before the public … these are deeply pondered, brilliantly executed, and often ravishingly beautiful performances’ (Fanfare, USA)

‘[Hough’s] new disc must be one of the current prime choices in these pieces’ (International Record Review)

‘Hough casts a scattered, multicoloured light as if through stained glass … one could write a complete analytical essay on Hough’s breathtakingly illuminating playing of the Second Ballade, but no words could convey the beauty he brings to the Fourth … playing of the purest, most controlled musicality, an approach that is in itself quintessentially Brahmsian … one is conscious of having been face to face with genius’ (Pianist)