‘Dvořák’s Op 81 Piano Quintet still attracts high-level performers … [Hamelin's] delicate pianos and tasteful accompaniments make the estimable Rubinstein (RCA, with the Guarneri) seem generic by comparison, and his quick scales and runs in the Price are scintillating. The Takács players, as always, have the style down, covering a full range of moods … Hyperion’s unobtrusive ambience is predictably excellent’ (Stereophile)

‘The Takács Quartet and Marc-André Hamelin perform [the Price] with their customary command, responding if anything yet more keenly to its shifting moods than the Kaleidoscope Collective in its fine premiere recording. The same goes for the Dvořák, in which Hamelin and the Takács highlight the Brahmsian energy that powers the music while not forgetting the work’s essential lyricism, most notably in the miraculous dumka second movement. Transparent sound (in Monmouth’s Wyastone Concert Hall) nevertheless still allows the elemental earthiness of both works to make its mark’ (The Strad)

‘An entertaining and enlightening recital, planned with insight and executed with aplomb’ (Gramophone)

‘After an excellent album with Kalabis’s Concerto for harpsichord and string orchestra, which was written for Růžičková and recorded by her student Mahan Esfahani [on Hyperion CDA68397], Hyperion brings out a small Kalabis treasure trove. It is a welcome addition to the modest discography of this composer. Kalabis is lucky to be championed by Gidon Kremer and his Kremerata Baltica. The album opens with four Duettina from 1987, in which the violinist is joined by the brilliant young Latvian cellist Magdalena Ceple. Under their fingers these duos sound like a happy homage to both Bartók and Enescu’ (Gramophone)

‘One of those rare occasions when composer, score, soloist, conductor and orchestra all combine in perfect synchronicity, when ‘everything comes together’ if you will … your hardened reviewer is not ashamed to admit that, once again, it moved him to tears. So if you are wondering if you need another Rachmaninov Third in your collection and on an album that lasts just 42'23", the answer is a resounding ‘yes’’ (Gramophone)

‘The textural sparseness of Weir’s setting is itself expressively emotive and beautifully rendered by the Yale Schola Cantorum under David Hill, who directed the premiere at the 2017 Proms. Hill’s shaping of the work is never more acute than in the lyrical second span, ‘Lament’, while he brings out the drama of the opening Prologue and the work’s denouement (sections 5‑6, ‘The Whirlwind’ and ‘God Speaks’) with consummate skill … Hyperion’s first-rate sound captures the ambience of Yale University’s Woolsey Hall perfectly, as well as every line and nuance of both scores’ (Gramophone)

‘[Hewitt] is nimble and witty [in K265], characterising each variation clearly but never striving for effect, and adding runs and decorations that are in the spirit of the birth of this piece as a competitive improvisation … there is introspection aplenty in the Adagio K540 and Rondo K511 that finish this lovely cycle: the Rondo dates from the time of the death of Mozart’s father, and is freighted with emotion that Hewitt recognises but doesn’t milk. This album, as with the other two, is highly enjoyable and recommended’ (TheArtsDesk.com)» More

‘Weir’s setting of In the Land of Uz has a lot of variety, both in its use of solo voices emerging from the choral texture, but also the instrumental accompaniment of five solo instruments and organ (violist Gretchen Frazier is outstanding) … the concluding movement … is Judith Weir at her best, and the Yale Schola Cantorum in fine voice … the choir get their teeth into some meaty passages [in the Beach] and it all sounds a lot of fun to sing, a distinctive American accent detectable in the music as well as in the performance. As with the Weir, which it sits alongside fascinatingly, the final movement is where it all comes together, dissolving from a big choral climax into the humblest of thanksgivings’ (TheArtsDesk.com)

‘This album aims to show you all the varying, miraculous colours and tones you can get from a bassoon … my pick for this week. It is just delightful from start to finish; it has a sense of humour because Laurence Perkins … is obviously a legend and knows how to have fun … go and listen to Hyperion's new album Honey-coloured cow!’ (ABC Classic, Australia)

‘There is a sense of palpable enjoyment running through this appealing new album from leading British bassoonist Laurence Perkins  an altogether entertaining album, where everything from Perkins's thoughtful programming to his spirited performances and perceptive programme notes feel rooted in a terrific enthusiasm for the instrument’ (BBC Music Magazine)

‘Kremerata Baltica is splendidly directed by Fuad Ibrahimov and in Kremer (of course) and the orchestra’s principal cellist, Magdalena Ceple, we have two proven exponents of the experimental. The recording has been very well judged, whether for two solo strings or the entire ensemble. Kalabis has been well served by this release’ (MusicWeb International)» More

„Das ist Musik, in die man sich hüllen möchte, wie in eine warme Decke. Das spannungsgeladene „Diptychon“ für Streichorchester bringt dichte Klangflächen und teils Mikropolyphonie. Genau das Richtige für die grandiose Kremerata Baltica“ (Concerti, Germany)