‘An authoritative new collection of all six Brahms essays in theme-and-variations composition … he's a born Brahmsian, equipped at the highest level with the necessary speed and power, the muscular strength and facility of finger tempered by breadth of outlook and solidity of intellect … Ohlsson's new Brahms conspectus adds up to an altogether remarkable achievement’ (BBC Music Magazine)

‘Ohlsson's playing not only persuaded me to appreciate the two Op 21 works but actually to listen to both discs all the way through in a single sitting. He is that good … this is a great Brahms recording that elevates and illuminates the music with a lightness of touch and heart that eludes many (yet he can darken the tone when required) … [Paganini Variations] perhaps the most musical performance on disc in recent years’ (Gramophone)

‘I ended up delighted by and in complete admiration of Hough's boldness. He has become a warmer player of increased range in Brahms, and unafraid to take risks … the concertos call for a brilliant, interesting and capricious personality who will make them compelling as discourse. I cannot believe Brahms would have expected anything else’ (Gramophone)

‘Stephen Hough has proved himself a superb Brahms player in various discs of the solo piano music, and this very satisfying double album of the two Concertos confirms and augments his reputation. Clearly working in absolute rapport with Mark Wigglesworth … Hough brings an unusually wide range of keyboard colour to bear on Brahms's piano writing. Added to that his complete understanding of the broadest trajectory and subtlest nuances of these works is reflected in his subtle flexibility of tempo and dynamics to underline expressive points that in some other performances go for nothing … this admirable set richly deserves its five stars’ (BBC Music Magazine)

‘Stephen Hough's splendid recordings … a poetic player, he employs all the muscle these most arduous works demand, while losing none of the poetry. Some of his passage work is revelatory, with phrasing that is imaginative, but never mannered. Artur Schnabel once observed: ‘Many others can play the notes as well as me; it’s my pauses and rests that are the thing.’ So true and Stephen Hough proves it yet again, with a set fit to be placed alongside Emil Gilels’s one at the very top of the tree’ (The Mail on Sunday)

‘Power draws a smooth honeyed tone from his uncredited viola … these are excellent performances, no question, and Hyperion achieves an ideal balance between the instruments’ (Fanfare, USA)

‘Such is Power's command of expression that there is no danger of the instrumental dialogue becoming muddled, or of his—yes—powerful tone being swamped by the thickly written piano part. Of course, Simon Crawford-Phillips's discretion and the recording's excellent balance help too. Indeed, Hyperion's warm, enveloping acoustic is a major bonus in this recording. Another one is a beautifully lyrical rendition of the Trio, which hasn't often been recorded in the viola version. Power and Tim Hugh are closely matched and yet sufficiently contrasted with each other’ (The Strad)

‘This is another marvellous CD from Hyperion bringing together the works Brahms composed for that Cinderella of instruments, the viola. Lawrence Power is one of the foremost violists of the day at the moment and he is superbly supported by cellist Tim Hugh and the discerning accompanist Simon Crawford-Phillips. The two sonatas are romantic works full of that nostalgic longing for youth from a composer who was nearing the end of his days when they were composed. Power plays with a disarming simplicity yet he plumbs the deepest depths of expressive interpretation which reaches the core of Brahms' thoughts. The recorded sound is beautifully balanced with viola and piano merging as one. The same could be said of the wonderful Trio in A minor which includes the contribution of Tim Hugh who brings a soulful panache to the cello part. Apart from the sheer towering achievement of the soloists, the disc is also highly recommended for Malcolm Macdonald's excellent notes which show his intense admiration of these great autumnal works by Brahms. This must now be the definitive disc for those who want Brahms' works for viola grouped together’ (Classical.net)

„Lawrence Power possède une belle sonorité et une intonation admirable … le Trio, que l'on entend fréquemment dans sa version pour clarinette, violoncelle et piano, trouve un meilleur équilibre avec la participation engagée du violoncelliste Tim Hugh, qui soutient avec chaleur l'alto dans ses envolées lyriques“ (Pizzicato, Luxembourg)

‘Lawrence Power can be heard to far greater effect in Brahms' two late viola sonatas and a rarity: the viola version approved by the composer of his Clarinet Trio. Power has a glorious tone and an instinctive understanding of this autumnal music and is well-partnered by the pianist, Simon Crawford-Phillips’ (The Mail on Sunday)

‘Lawrence Power is such a superlative artist … [his] playing is so full of imagination, sensitivity and gorgeously ample phrasing’ (The Guardian)

‘Lawrence Power and Simon Crawford-Phillips bring a much broader expressive and dynamic range to bear on these timeless scores, so that when Brahms turns truly introspective … the effect is quite magical when all around is so passionate and fiery … another winning disc from Hyperion’ (International Record Review)