‘Stephen Hough's quicksilver mastery of the idiom proves an unfailing guide throughout’ (Classic FM Magazine)

‘Hough has something unique and individual to say, with capricious daring and memorable directness. The beautifully balanced sound quality self-effacingly enhances what seemingly passes for a live experience uninhibited by microphones. Listen well and often for maximum reward and exhilaration’ (International Record Review)

‘This is astonishing piano playing and Chopin interpretation, at its very best, fully measuresup to the greatness of these pieces. And to their freshness, not least; the Ballades and Scherzos, along with just about all Chopin's work, have been constsntly before the public, and Stephen Hough's accounts of them offer plenty of refinement to spirit and senses. It's not given to many to play them as well as he. Hough is unfailingly thoughtful; there's not a note that hasn't been cared for … he combines a staggering technique with a genuinely engaging musical imagination. Handsomely recorded and produced’ (Gramophone)

«Il y a dans le jeu, dans la carrière, dans la personalité de ce pianiste britannique quelque chose d'extrêmement séduisant et de hors du commun … la Sonate est magnifique d'imagination, déroulée comme un vaste poème, sans alanguisement, sans excès de fureur, juste une sorte de retenue respectueuse de la richesse de l'écriture» (Classica, France)

‘The greater the music here, the more revelatory the playing, especially in a magnificent account of the Polonaise-fantasie … a ticket to a pianistic paradise’ (The Mail on Sunday)

‘A concert grand piano is a thousand-pound machine … the machine sings beautifully on 'Chopin: Late Masterpieces', Stephen Hough's new recording for the Hyperion label … [Third Piano Sonata] Hough's playing of the opening melody suggests that he has thought hard about how it would sound if it were sung by a soprano … I've gone through various canonical Chopin recordings—including accounts of the Third Sonata by Cortot, Lipatti and Rubenstein—and found none on which the melody coalesces into such an acutely vocal shape’ (The New Yorker, USA)

‘I was won over by the lovely tone and touch, the seductive warmth and clarity of the inner parts and the beautifully judged rubato … it carries ringing conviction’ (The Sunday Times)

‘Hough's fingers probe and caress; textures and colours dance and blend with cleansing clarity’ (The Times)

«Dessiner, sous un toucher souvent piano, des rythmes aussi souples et nets n'est pas un don du ciel mais le signe d'une impeccable discipline, doublée d'une grande écoute de l'instrument … [Kolesnikov] a su combiner vingt-quatre pour dérouler une histoire qu'il inscrit dans les paysages changeants. Tonalités, caractères, tempos finissent par créer une œuvre nouvelle, qui vaudrait plus que la somme de ses éléments» (Diapason, France)» More

‘Hewitt is not given to grand effects, whether an extreme rubato or rude dynamic change. Still, she can play grandly as well, as we hear on her powerful performance of the great Fantaisie-Impromptu in C sharp minor. This new recording of the nocturnes is what Marlon Brando would have called, if he had cared, a contender. It's richly recorded and beautifully played: it has art's final seal’ (Fanfare, USA)

‘Angela Hewitt is a sound buy … the delicacy of touch and manicured precision of the phrasing is a delight’ (The Scotsman)

‘In a catalogue boasting many distinguished Chopin Nocturne cycles, Angela Hewitt's commands attention’ (BBC Music Magazine)