‘What a joy it is to bask in Stephen Hough’s musicianship’ (The Sunday Times)» More

‘The mournfulness of the Tallis is intensified by the superb blend of the singers, whose ability to spin mellifluously long lines adds a timeless sense to this evocation of abandonment and desolation. Haunting and heartfelt, the final appeals for Jerusalem to repent are musical moments to savour. By contrast, the Gesualdo profits from the individuality of some of the voices and an acute sense of drama, not unlike that of the brightly lit foreground of a mannerist painting. Relishing a range of timbre and emotion, the singers are not afraid to take some dramatic risks, in some sense mirroring the outrageous harmonies of the music itself … The Gesualdo Six prove insightful and thought-provoking guides in this exploration of the darkness of the passion before the dawn of Easter’ (Limelight, Australia)» More

‘This Hyperion delivers on every level in a recording of compelling vitality and, to my ears at least, flawless musicianship’ (MusicWeb International)» More

‘Throughout, Hamelin performs with a polished assurance, his playing at all times thoughtfully nuanced. His flawless technique particularly comes to the fore in such works as the presto finale of the Fantasia in C Major Wq61/6. This recording is an exemplary addition to the catalogue. Not only does it shine light on music that deserves greater recognition, but it proves—if proof is needed—that despite Hamelin's usual focus on virtuosic 19th-century repertoire, he is a master at anything he decides to approach. Excellent notes and attractive packaging are further bonuses’ (The Whole Note, Canada)

„Das Leonore Piano Trio interpretiert beide Werke mit spürbarer Begeisterung, sorgt aber auch dafür, dass die elegischen Momente—etwa die suggestiven, zunächst vom Cello vorgetragenen Melodien der Andante-Sätze—ausreichend Raum zur Entfaltung bekommen. Benjamin Nabarro (Violine), Gemma Rosefield (Cello) und Tim Horton (Klavier) lassen so ein Stück Berliner Musikkultur wieder lebendig werden und sorgen gleichzeitig für ein eminentes Hörvergnügen“ (Kulturabdruck, Germany)

‘Now here’s a contribution to the Vaughan Williams anniversary that I think might be on a few ‘best of the year’ lists in December. I hope so … tenor Nicky Spence is in wonderful voice here: not too much reserve; loads of passion; well-balanced responses from the Piatti Quartet and pianist Julius Drake. It’s one of those performances whose vivid exploration of the emotional landscapes evokes Ravel in places, with whom Vaughan Williams was taking lessons and who thought highly of this cycle [On Wenlock Edge], apparently. Viola player Timothy Ridout adds real richness to the sound of the Four Hymns, and the early cycle The house of Life—Vaughan Williams’s settings of Rossetti—is beautiful, touching. The whole recital is mesmerizing, I think’ (BBC Record Review)

‘After Mendelssohn set down the Sonata in F major [MWV Q26] in draft form, he got as far as revising the first movement before moving on to other things. Superb duo partners Alina Ibragimova and Cédric Tiberghien have opted for the original first movement. Once you listen, you'll understand why. The triumphant opening is so lively and joy-filled as to make one question how it could ever be bettered. The lovely second movement impresses as a tender love song from a sensitive and longing soul. It's so wonderful and filled with beauty that anyone who chose to exit this lifetime while this was playing might conceivably die with a smile on their face. The sonata closes with a joyous cat-and-mouse romp. As a celebration of the goodness life has to offer, this marvelous sonata deserves a place alongside Beethoven's Archduke Trio and the finest works of Mozart’ (Stereophile)

‘This year marks the 150th Anniversary of the birth of the composer, Ralph Vaughan Williams, the father of British music into the 20th century, and there could be no better way to mark that event than by this important release on the Hyperion label. It features the outstanding Scottish tenor, Nicky Spence, whose singing throughout has such fine poise and, when required, a full-bodied quality, perfectly supported by the pianist, Julius Drake. Then, with the imaginative colours created by the highly acclaimed young Piatti Quartet, Spence captures the emotive words of the popular song cycle, On Wenlock Edge’ (Yorkshire Post)

‘Whether noble, sparkling or deeply expressive, Bargiel has the means and methods to sustain his engaging creativity that withstands scrutiny and repetition, and here enjoys the services of the interactive Leonore Piano Trio, for Tim Horton (piano), Benjamin Nabarro (violin) and Gemma Rosefield relish the music’s tunefulness and emotions and make a great team, captured ideally at Henry Wood Hall’ (colinscolumn.com)» More

‘A beautiful piece [MWV Q26], much in the same spirited vein as the slightly later Cello Sonatas. Ibragimova and Tiberghien offer an incisive, articulative account of its big first movement, one that never lacks for momentum or color. The exchanges of foreground and background roles in the central Adagio flow beautifully while the concluding Assai vivace is brilliantly felt, its episodes of tension and release unfolding with utter naturalness. Rounding out the album is a fragment of a Violin Sonata in D that the composer left incomplete sometime in the late 1820s. It’s a tantalizing sketch, with a warm-hearted Adagio introduction followed up by a stormy fast section, but not much more—though Ibragimova and Tiberghien get its closing bars to shimmer’ (The Arts Fuse, USA)

‘The practicality and professionalism [of the Moments musicaux] is covered over by the subtlety of Osborne’s deft and immersive interpretation. The 3rd Moment, in B minor, is one to savour for years to come. I wish I had a sixth star to award’ (Ludwig Van, Canada)

‘Here are two bafflingly neglected piano trios in gloriously vibrant performances. If you’ve ever wished there was more chamber music to discover by Brahms and Robert Schumann, this is a real treat.’ (The Guardian)