‘Chi-chi Nwanoku is a delightful soloist. [Her] light-as-air sound and technical clarity are a continual source of pleasure’ (International Record Review)

‘An elegant performance. Beautifully played and phrased by Nwanoku, who reveals the lyrical potential of the solo bass’ (The Strad)

‘Nwanoku’s playing is both athletic and eloquent in these appealing bass concertos. [She] plays her solo music with due vivacity and skill … as graceful as can be imagined on her instrument. Paul Goodwin’s neat and sympathetic accompaniments, his leisurely pacing and his judicious balance…make this disc even more appealing’ (Gramophone)

‘A most enjoyable disc’ (BBC Music Magazine)

‘Shelley's limpid touch, clarity of fingerwork and limitless musicality make the effort sound as if it’s the proverbial piece of cake. The Tasmanian Symphony Orchestra rises to the challenge with verve and charm’ (Sinfini.com)

‘These works offer a fascinating backdrop to the greatest masterpieces of the age. And you couldn't imagine a finer advocate than Howard Shelley, who is not only palpably committed to the cause (enthusing the Tasmanian Symphony Orchestra in the process) but who has both the dexterity and the musicality to make the best possible case for this music. Mention should be made, too, of the entertaining and informative notes by Jeremy Nicholas’ (Gramophone)

‘Played like this with virtuoso panache and total conviction, these pieces sound like neglected masterworks’ (BBC Music Magazine)

‘Howard Shelley, joyously familiar to collectors of this series, negotiates the coruscating arabesques, trills, repeated notes, thirds and what not with great aplomb, synchronising the orchestral accompaniment with remarkable skill even in rubato places where you'd think both hands were more than full … the album is well worth the money for these works alone … Shelley is brilliant, as ever … adventurous newcomers should hop aboard, instantly. Another Hyperion triumph’ (International Record Review)

‘Hagai Shaham gives a deliciously rich and eloquent account of Dohnányi's Violin Sonata … it is thrilling, captivating playing, joyous and tender … there are sumptuous moments in Janáĉek's Sonata, too, but this is darker stuff, and Shaham brings to it a gentle sensibility … the rapport between Shaham and Arnon Erez, itself a notable feature of the disc, is quite wonderful in the tricky ensemble and fractured discourse of this sonata’ (The Strad)

‘Shaham and Erez give an excellent performance [Dohnányi Sonata], Shaham's seductive tone and elegant phrasing being well matched by Erez's sensitive touch. The Ruralia hungarica pieces show the composer's more nationalistic side but are still farily traditional in their approach to folk material. Shaham is in his element here—the brilliant final piece carefree and dashing in style, the preceding, improvisatory Andante rubato alla zingaresca graceful and stylish’ (Gramophone)

‘The strongly Brahmsian Sonata [Dohnányi] is given a warm and affectionate reading, the central variation movement imaginatively characterised with Shaham's honeyed tone proving an ideal foil for Arnon Erez's bold and dynamic piano playing. But it's the more folksy Ruralia hungarica that draws the most compelling performance, Shaham negotiating the challenging violin pyrotechnics of the outer movements with impressive powerhouse playing as well as delivering a wonderfully atmospheric Andante rubato alla Zingaresca’ (BBC Music Magazine)

‘[The Leopold String Trio] have a vibrant yet relaxed approach to the music that makes one listen carefully, and they handle this varied and demanding repertoire with satisfying intensity’ (American Record Guide)