‘What we have is a set of symphonies recorded by an extremely gifted conductor, who clearly communicates his understanding and interpretative viewpoint of the music to his players, who share that vision and perform with intensity and commitment. In each symphony I discovered new things, and that is exactly what I want from any new listening experience’ (The Classic Review)

‘Sensitive pianists with an ear for nuance usually put across the Mazurkas convincingly. Andrey Gugnin possesses these qualities, and has that gift for spinning out melodies in long, shapely arches, with exquisite finger legato … you cannot go wrong with Gugnin’s refined artistry and Hyperion’s world-class sonics’ (Classics Today)» More

„[Alina Ibragimova und Cèdric Tiberghien] beweisen, dass Mendelssohn nichts mit vermeintlich romantischer Gefühligkeit zu tun hat. Ibragimovas lichter, dabei intensiver Geigenton und Tiberghiens unverzärtelter Zugriff machen die drei Sonaten und einen grandiosen Fragmentsatz zur aufregenden Begegnung mit Mendelssohns klassizistischem Genius“ (Süddeutsche Zeitung, Germany)

‘Andrey Gugnin completely gets the way Scriabin emerges from Chopin’s salon and ends up somewhere quite different, as these mazurkas should demonstrate … you can feel the harmonic niceties of Chopin’s Parisian salon dissolving as Scriabin explores his own alternative tonalities, and Andrey Gugnin seems to understand where Scriabin has come from and where he’s heading—a passionate, sometimes improvisatory approach that pays dividends’ (BBC Record Review)

‘Hamelin, a musician of superlative gifts, makes us feel as if the composer has returned to Earth, discovered the glories of the modern piano, and is improvising the music in front of us’ (The Arts Fuse, USA)» More

‘The half-dozen male singers of Gesualdo Six, under the alert and sensitive direction of Owain Park, have already produced a quartet of first-rate recordings. This one, exploring the crepuscular soundworld of the Tenebrae services for Holy Week, is equally compelling … in sum, these are accounts of haunting beauty—warmly recommended’ (BBC Music Magazine)» More

‘Clean playing from both performers, with light pedalling from Cédric Tiberghien, deals honestly with the two early sonatas and their engaging mixture of Classical and Romantic materials … the 1838 Sonata, in which Tiberghien understandably allows himself more generous pedalling, shows Mendelssohn on top form’ (BBC Music Magazine)

‘For Scriabin … the mazurka form is not a pretext for pretty salon pieces but a means of introspective experimentation. Gugnin takes risks … no 2 is a meditative, luminous highlight, while No 8 offers the best of both worlds—and the pianist handles them with exquisite sensibility’ (BBC Music Magazine)» More

‘Such a powerful partnership, this—full of ideas and energy and musical inspiration, and it's an excellent, intimate recording as well: the hushed opening of the D major sonata fragment at the end is magical’ (BBC Record Review)

‘This is a richly rewarding disc. Iestyn Davies offers a flawless exhibition of the art of countertenor singing, bringing superb technique and alert intelligence to all the music. Under the stylish direction of Jonathan Cohen, the members of Arcangelo give distinguished support with the organ paying of Tom Foster a special delight. This is intimate music; engineer David Hinitt and producer Stephen Johns have captured that intimacy in a beautifully judged recording. Hyperion’s documentation is up to the standard we have come to take for granted from this label; Richard Wigmore’s notes are a model of their kind. This is a most worthy successor to Iestyn Davies’ previous disc of Bach cantatas with Arcangelo’ (MusicWeb International)» More

‘Despite the dire predictions of certain doom-mongers, the quality of British liturgical choral music commissioned in the past few years has continued to be of the highest quality and the greatest interest. This glorious new album, recorded in 2020, features 11 newish works, superlatively performed and recorded in stunning detail … under James O’Donnell’s inspired direction, the Abbey’s choristers throw themselves wholeheartedly into this demanding repertory, in performances that will surely dispel any lingering Covid blues’ (Gramophone)

‘Davies’ voice—still boyish-pure and agile but animated with a man’s artistry and sophistication—is an ideal vehicle for works whose demands are staggering … Davies might be the headliner, but there’s a scene-stealing turn in both cantatas from organist Tom Foster, whose opening Sinfonias (organ concertos in disguise) dazzle and burst with bell-like freshness and vigour. He’s not alone; the whole ensemble bounds and romps under Cohen’s direction, Leo Duarte’s oboe da caccia and a pair of viola da gambas (Kinga Gáborjáni and Reiko Ichise) periodically grounding the brilliance with their grit and bite … a disc full of delights’ (Limelight, Australia)» More