‘The power and the dynamic contrasts are telling, the measured tread of the Andantino is compelling, and that Scherzo [of D959] both measured—slower than many—but capricious as well’ (BBC Record Review)

‘Absolutely wonderful: it’s really the BBC Symphony Orchestra in their sweet spot. Every section of the orchestra sounds magnificent. The strings just sound rich and very broad and deep, and very British—that unmistakable British string sound—and the same with the brass, and the wind sound wonderful, sparkling and painting the picture of what we need in the Antartica symphony so perfectly. Liz Watts in the outer movements is just wonderful, perfect for the occasion, haunting and otherworldly … there’s a sort of darkness to it which I think the orchestra’s captured perfectly here. And they’ve recorded this entire album in about two days at the wonderful Watford Colosseum: it’s practically a live recording and it’s absolutely breathtaking in its technical assurance … it’s incredibly well recorded, very satisfying to listen to: it’s like being there’ (BBC Record Review)

‘Sinfonia antartica exudes the chill and thrill of great music-making, the music itself of awesome power, vivid description and icy finality, presented here with tremendous attack and to disturbing effect, resigned rapture when required, totally focussed through the five movements … fine vocals from Elizabeth Watts and the ladies of the Chorus … Brabbins unfolds [No 9] inexorably, impassionedly, relishing the mellifluous flugelhorn, the three saxophones, and unleashes music of suspense, swirling emotions, and deep expression … Andrew Keener’s production values, stunning sound from Simon Eadon (assisted by Dave Rowell)—March last year, Watford—and a booklet note from Robert Matthew-Walker complete another desirable release’ (colinscolumn.com)

‘We must salute Hyperion, which has apparently recorded the last two albums of what will be the complete Machaut music, all from the same four wonderful singers. We look forward with bated breath to the completion of that project’ (Gramophone)

‘[Hough] brings focus and variety to each of these aural morsels, amply rewarding the concentration required on the part of the listener. Mompou’s folk-inflected idiom, pervaded as it is by Catalan traditions, poses few challenges to 21st-century ears either harmonically or rhythmically. Rather the ear is drawn to discernment of the various manifestations of naivety in this ‘primitivist’ palette. The clarity and simplicity of Hough’s approach allows one to readily perceive the warp and woof of Mompou’s rhetorical loom. Another aspect of Hough’s interpretations that seems more developed than in the readings of many of his colleagues is the air of mysticism with which all four of the books are imbued. Those interested in Spanish musical traditions, as well as aficionados of the reticent but never less than sincere Mompou, will surely be grateful’ (Gramophone)

‘Crisply recorded, this is a most attractive disc—thoughtful, trim, tensile and brilliantly communicative … a winner’ (MusicWeb International)

‘This is a wonderful anthology, brilliantly performed and recorded, with Alexander Liebreich’s Prague Radio Forces providing taut, colourful support’ (TheArtsDesk.com)» More

'[Kalabis] dostal bezvadný dárek ke stým narozeninám, které by oslavil 27. února a byly také popudem ke vzniku projektu Kalabis 100. Díky dalším skladbám od Bohuslava Martinů a Hanse Krásy, které jeho koncertu na albu předcházejí, stráví své jubileum ve velmi dobré společnosti … samotná nahrávka tří koncertů pro cembalo s různě velkým orchestrem představuje čirou hudební radost. Částečně je to dáno už tím, že tempové pokyny pro čtyři z celkem osmi vět pracují se slovem „allegro“. Slovo však bylo učiněno skutkem a hudba se do posluchače od samého počátku pěkně opírá a leze mu do uší i pod kůži' (HisVoice, Czech Republic)

‘These excellent and committed performances get to the heart of these fascinating works’ (BBC Music Magazine)» More

‘Hough is the ideal guide. He wholly inhabits the music’s mystical atmosphere, its holy simplicity. Exquisite sensitivity is matched by a steely strength. Sounds coalesce and insist on their presence, before disappearing into the ether. Austerity blends with warmth. It is, wrote the polymath Hough, ‘the music of evaporation’; his performance is one of perfectly judged understatement’ (BBC Music Magazine)» More

«Attention, ce disque courageux où se reconnaît l’appétit de répertoire de l’iconoclaste Mahan Esfahani, cache un chef-d’œuvre. Le claveciniste nous en avertit dans sa note d’intention : le Concerto que composa Viktor Kalabis en 1975 pour son épouse Zuzana Růžičková … est d’entre tous les concertos composés pour cet instrument au XXe siècle, l’opus majeur … après cela, revenir au simple giocoso du Concerto de Martinů, partition délicieuse, ou aux persifflages si revigorants de la Kammermusik de Krása semblera à beaucoup impossible, commencez donc par eux, musiques de pur plaisir avec une pointe d’étrange chez Krása, toujours tenté par une nuance surréelle, avant d’entrer dans l’univers Kalabis» (Artamag, France)» More

„Diese neue Aufnahme mit dem Cembalisten Mahan Esfahani ist ein toller Wurf! … Esfahani spielt auf seine unnachahmliche Weise kontrolliert entfesselt, hörbar tief verbunden mit diesem speziellen Repertoire, das für ihn essentiell die Qualität der tschechischen Kultur verkörpert. Und diese Hingabe, verbunden mit der technischer Perfektion und geistvollen Musikalität, bringen auch seine MitstreiterInnen für diese originellen Werke mit. Elektrisierend & preisverdächtig! Auch klanglich wurde das Ganze fulminant realisiert und aufgenommen. Bleibt zu hoffen, dass man diese Werke dann auch im Konzertsaal wieder öfter hören kann …“ (Musik An Sich, Germany)