‘‘Haitink’s late, live Bruckner Fourth is not only the most sumptuously beautiful, it’s also the most satisfying … few performances capture so well the sense of mystery at the heart of this symphony’’ (BBC Music Magazine)

'I've been something of a stickler with preferring Günter Wand’s recordings of the Bruckner symphonies ... but I think I've found an even better version in Haitink’s No 4, not to mention the improved sonics' (Audiophile Audition, USA)

'[Haitink's] authority in Bruckner is unquestionable’’ (Hi-Fi News)

‘Here is Bruckner superbly paced, but also showing … warmth and romance. This is a notable debut by Runnicles with his Orchestra in glowing Hyperion sound’ (Liverpool Daily Post)

‘This resplendent account of the Seventh … Runnicles keeps the whole sublime first movement at a steady, subtly flexible two in a bar; and, in the finale, he takes the chorale second subject at the same pace at the frisky opening theme, with consequent benefit to the music's structure’ (The Sunday Times)

‘This Bruckner Seventh can stand comparison with the best. Runnicles paces it patiently, drawing long, lyrical lines and creating a strong sense of musical architecture: you can sense his Wagner experience coming to the fore in his pacing of the Adagio. The playing is excellent’ (Financial Times)

‘Thoughtful, radiant and eminently musical: the modesty as well as the humanity of Bruckner's vision is faithfully realised’ (Gramophone)

‘Donald Runnicles' debut recording for Hyperion is a very impressive achievement. He has established a strong rapport with the BBC Scottish Symphony Orchestra, inspiring them to deliver playing of great refinement … Hyperion's recording is eminently satisfying: it encompasses a wide dynamic range while enabling inner details to come through the texture … highly recommended’ (BBC Music Magazine)

‘[A] carefully crafted reading … the BBC Scottish Symphony proves adept at Bruckner’ (Classics Today)» More

‘‘This experienced Brucknerian—after some half century of devotion to the composer—holds all in control, and brings a welcome lightness and gleam to the second movement Scherzo. The LSO plays with a transparency and poise that cuts through even the most climactic, brass-laden fortissimos’’ (The Observer)

'This performance from last year with the London Symphony Orchestra on stupendous form seems to mark a pitch of understanding and communication which it wouldn’t be possible to surpass' (BBC Music Magazine)

'Haitink, as ever, maintains a magisterial grasp on the architectural span of Bruckner’s final 'cathedral in sound'. In his 85th year, he is the doyen of the world’s great Brucknerians. His latest interpretation of the Ninth is not to be missed' (The Sunday Times)