'Han har ikke et fjerlet anslag og spiller ikke lynende hurtigt, men der er en tyngde bag klaverspillet, som vidner om stor musikalsk og menneskelig erfaring—og det er vigtigt i Schumanns drømmende fantasistykker op. 16 (‘Kreisleriana’), op. 17 og op. 18 (‘Arabeske’). For Stephen Hough er et sjældent menneske … Hough holder ofte musikken tilbage, som om der skal tænkes mere over det—som er det et talt sprog, og der holdes små tænkepauser mellem sætningerne. Han lægger ikke alt for hurtigt ud. Andre spiller ‘Kreisleriana’s første sats for hurtigt, måske for at vise virtuositet, men får dermed ikke det drømmende med. Det får Hough, ligesom det let svævende element træder bedre frem, når han langsomt accelerer noderne frem mod klimakset. Han vælger nogle kernetoner, som betones og står som pejlemærker gennem satsen og i de hurtige løb … ved Fantasiens sidste toner føler jeg, at jeg er kommet tættere på Schumann og Hough' (Klassisk, Denmark)

‘Nuper rosarum flores, written for the consecration of Florence’s Duomo in 1436, sounds refreshingly lithe and supple in this one-to-a part performance. In the same composer’s Salve flos Tuscae gentis, the consort’s sound is honeyed and mellifluous … throughout the programme, the four voices of The Orlando Consort are beautifully balanced, their intonation and diction nigh flawless’ (BBC Music Magazine)» More

‘The Orlando Consort bring a brisk clarity to the textures [of Nuper rosarum flores] … the result is a beautiful, intimate performance … the lauda performances (religious songs), which Macey explains would have likely been performed by boys and organ to the tunes of known chansons, are here also presented all-vocally: two silky, flowing untexted voices support Matthew Venner’s charismatic countertenor voice in works by Dufay and Binchois. Here, delicacy and intimacy are superbly matched to these more introspective works’ (Gramophone)

‘Every so often a recording comes along which excites, totally satisfies and ticks all the right boxes; this disc is one such … Marc-André Hamelin’s stunning virtuosity, sheer musicality and sense of drama showcase these magnificent works at their best. The bright-sounding Steinway and perfect acoustic all add up to a winning combination. The scholarly booklet notes are the work of Mahan Esfahani, conveniently translated into French and German. This release is already a strong contender for one of my Recordings of the Year’ (MusicWeb International)» More

‘Hough … wins me over with his liquid, limpid articulation [in Op 27 No 2]. Again, he has thought at every turn about how a human voice would deliver the melody. In the process, he makes you forget that you’re listening to the operation of a complicated machine: the materiality of the instrument disappears. That illusion is augmented by Hyperion’s recording, which was produced by Rachel Smith and engineered by David Hinitt. The piano is a Yamaha CFX, and it sounds warm and clear but never dry … there is no lack of great accounts of the Nocturnes in the catalogue: the robust elegance of the younger Arthur Rubinstein, the grandeur of Claudio Arrau, the fine-spun melancholy of Ivan Moravec, the vibrant lyricism of Maria João Pires, the unaffected poetry of the late Brazilian Nelson Freire. I have no hesitation about placing Hough in that company. On many moonlit nights, his version will be the one I reach for first’ (The New Yorker, USA)

‘Hamelin makes spirited cases for hearing this music more regularly, beginning with the A minor Sonata. In its final movement, he handles some geysering phrases with appropriate intensity, while lending others a teasing air. The contrasts come hard and fast, but Hamelin’s approach always sound well judged. As usual, Hyperion’s presentation is stellar, from the production sound to the liner notes (written by the harpsichordist Mahan Esfahani)’ (The New York Times)

‘Brilliantly brought to life by Marc-André Hamelin … I really enjoyed the way he identifies with the complex demands of the music … Hamelin is the kind of modern pianist with the firepower to make the most of Emanuel Bach’s sudden switches of mood and timbre, and the unexpected endings, often at the most exhilarating speeds. Insightful booklet notes by Mahan Esfahani enhance the whole thing; it’s an effective recording as well’ (BBC Record Review)

‘Whoever Howard Shelley chooses to champion, one thing is for certain—his interpretations always lift the music from the score and provide a fascinating insight into a composer’s world … Shelley plays with precision, interpreting all the nuances, shades, and refinement flawlessly … there are so many enjoyable tracks enriched by Shelley’s full-spirited playing, all beautifully controlled with subtlety and charm permeating through this splendid disc’ (Yorkshire Times)» More

‘Hamelin certainly brings out all the charm, finesse and refinement intrinsic to this music. Poise and perfectly judged dynamic balance between the hands, fluid phrasing and tempered rubato, all come together to do the music full justice. There's a tendency for music from that period to sound overly formulaic, but Hamelin doesn't see it that way. Each and every phrase, ornamentation, harmonic twist sound fresh, musical and innovative under his highly insightful interpretation’ (Classical Music Sentinel)

‘The always interesting (and regularly surprising) Marc-André Hamelin adds to his massive catalogue with a double album of keyboard music by Carl Philipp Emanuel Bach, the most famous and prolific of Johann Sebastian's composer sons. Emanuel's music looks ahead to the slower harmonic rhythm and emotive style of later composers while retaining the lavish ornamentation of his father's generation (especially Scarlatti). While the album's notes were written by a harpsichordist (Mahan Esfahani), there's no one better than Hamelin to show how this music should be played on the modern piano. (Also, he's now only one generation away from making the J.S. Bach album we're still anxiously awaiting)’ (CBC Music, Canada)

‘Heaven, pure and simple. The second movement’s opening Arietta bore a closer resemblance to the great Artur Schnabel’s 1932 recording than any other I know of: its breadth and profundity of utterance, the perfect weighting of its chords and the rests between those chords, and a comprehensive understanding of the music’s harmonic architecture, all helped nudge old interpretative values into a new context, ‘old school for a new age’ you might say … I would suggest you wrap up any preconceptions you might have about the interpretation of this music, dig a very big hole and bury them. Here’s your chance to listen with fresh ears … Hewitt’s accessibly analytical notes add a further degree of pleasure to the listening experience and the Fazioli piano used rings resplendent thanks to a superb recording. If this disc isn’t shortlisted for prizes in 2022 I’ll be very surprised’ (robccowan.com)

‘This is an all-time great tribute … Hamelin has of course an embarrassment of excess prowess when it comes to the technical demands of these pieces, but artistically they most certainly have his full attention. He finds something to communicate in every one. He is in no hurry to get through the program. He revels in the many little pauses, rhetorical flourishes, witty asides and pratfalls in which this music abounds. If I could listen to his playing with one other person in history, it would be Haydn, who would get all of the jokes … as always the Hyperion sound is unsurpassed. The sound stage is a perfect size for this most elegant of chamber music’ (Audiophile Audition, USA)