‘The members of Room Music play the entire programme with a committed advocacy that can only assist Catoire's long-delayed emergence into the light. It makes a logical complement to Marc-André Hamelin's Hyperion recording of his piano music (CDA67090), while its greater timbral variety might provide an even better introduction to Catoire's singular achievement’ (International Record Review)

‘Catoire is a forgotten man of late-19th and early-20th-century Russian music. A maverick Wagnerian in his youth, he found success as a teacher, but since his death has suffered almost total neglect as a composer. Yet his music, which mixes the spaciousness of Franck with the organisation of Brahms and the expressive freedom of Rachmaninov, is extraordinary’ (The Sunday Times)

‘Catoire's Piano Trio is reminiscent of Rachmaninov, while the Piano Quartet owes more to Scriabin. Fluent performances of both by this enterprising ensemble’ (Classic FM Magazine)

‘Catoire demands a high degree of virtuosity and an ear for instrumental colour, both of which he receives here in performances of verve and panache’ (The Daily Telegraph)

‘This is music which could certainly appeal to those who are attracted by Russian Impressionism, or by Scriabin's piano works, especially in these performances. They are led by Stephen Coombs, author of an informative insert-note, who is undaunted by the intricacies Catoire wishes upon his pianist’ (Gramophone)

«Un disque rempli de joie, de poésie et de lumière» (Le Devoir)

‘This is charming, formidably accomplished stuff. Hamelin gives impeccably stylish and sympathetic readings, as if he's been playing them since the cradle. Probably he has’ (BBC Music Magazine)

‘Superlative. Immaculately and sensitively performed. Sound and presentation are superb. It would be hard to imagine one of music's most neglected byways illuminated with more pianistic ease and affection’ (Gramophone)

‘A fine conspectus of a captivating composer. Russian champagne of glowing vintage’ (Classic CD)

‘Maria Grazia Schiavo produces characterful recitatives and shows herself mistress of Baroque rubato in her arias. Zanasi creates a sympathetic and beleaguered husband … Maria Cecchi Fedi is, as ever, wonderfully expressive and natural in the role of Friendship. The excellent countertenor Martin Oro makes a meal of his juicy part as old lady Avarice … Francesco Ghelardini, enlivens the small part of Courtier with his beautiful timbre’ (Opera News)

‘A comedy of amorous intrigue, satirising the venal appetites of the gods in music that is graceful and shapely’ (The Daily Telegraph)

‘A lively and stylish performance’ (Gramophone)