‘This anthology of 20th-century music for viola and piano was a deserved inclusion in the BBC Music Magazine's 'Top 1000' CD guide. The Scottish-born Paul Coletti is a master of his instrument, and deploys an impressive range of colours. Well partnered by the versatile Leslie Howard, he gives full Romantic expression to Rebecca Clarke's fine 1919 Sonata and Bax's dramtic Legend. And he is a convincing advocate for posthumously published rarities by Britten and Vaughan Williams, Frank Bridge's beautifully written diptych, two delightful Grainger miniatures, and two beautiful lullabies by Clarke which alone are worth Helios's modest price’ (BBC Music Magazine)

‘Coletti’s cello-like tone and Leslie Howard’s sensitive accompaniment highlight the big romantic gestures of the Clarke sonata and also project the fervent nature of works such as Bax’s Legend and Frank Bridge’s irresistible Allegro appassionato’ (Classic FM Magazine)

‘Maltman captures the almost unbearably poignant feeling of these [Gurney] songs’ (BBC Music Magazine)

‘Singing of distinction and a programme of remarkable strength. Hyperion is on to a winner here’ (Yorkshire Post)

‘Russian composers have set many English poems to music, and here we have some of the best’ (Classic FM Magazine)

‘Even more impressive than their two previous collections … a CD that merits a very strong recommendation’ (Fanfare, USA)

‘The playing must be heard to be believed … Ernst's music bristles with all imaginable—and some unimaginable—instrumental tricks … Gringolts performs all these hair-raising feats with apparent ease. His intonation never falters, his tone reamins pure … most admirably, he makes the acrobatics sound like music, with melodies that sing and soar, elegant phrasing, tonal variety, charm and expressiveness’ (Strings, USA)

‘Blessings on Ilya Gringolts for having the cojones, as well as the fingers, to record Ernst's Six Polyphonic Studies for Solo Violin … the performances are among the greatest displays of virtuosity I have ever heard. Gringolts even supasses his teacher Itzhak Perlman in the magic fingers department’ (American Record Guide)

‘Gringolts represents Ernst as a sensitive yet large-scale player, far removed from either empty display or stultifying classroom academicism. Nevertheless, he out-sparkles Ricci in the Second Study, which he takes at a tempo I would never have imagined possible … in the next Study, dedicated to Joachim, he slows down to reveal the full range of sentiment with which Ernst laced it … the Élégie … offers perhaps a purer strain of lyricism, and Gringolts, playing it with more panache than might be expected in such a work, makes its romantic rhetoric surprisingly convincing … Gringolts’s collection should be essential listening for violinists, offering a sort of authentic recreation that should interest much wider audiences as well; heartily recommended to them too’ (Fanfare, USA)

‘Violinists will marvel at the astonishing ability of Ilya Gringolts in getting his fingers around this music with pianist Ashley Wass’ (Liverpool Daily Post)

‘Ilya Gringolts meets Ernst's formidable technical challenges with apparent ease, and his playing here is virtually flawless even in the most taxing flights of virtuosity … he also dispatches Ernst's transcription of Schubert's Erlkönig with breathtaking aplomb and close regard for the dark atmosphere and sinister detail of Goethe's poem. Pianist Ashley Wass provides sterling support in the accompanied works, especially in the soulful, recitative-like introduction of the Élégie, in which Gringolts is at his own lyrical and intimately expressive … violin virtuosity reigns supreme’ (The Strad)

‘No one has come close to equalling the technical prowess and musicality that Gringolts displays here’ (Classic FM Magazine)