‘In the right hands, such as those belonging to Ilya Gringolts, it actually achieves a degree of musical viability … what profundity there is comes from the listener's shivering realization that the humanly impossible is being achieved right before his ears, and apparently without effort. Even the formidable Midori, in her Carnegie Hall recital, doesn't make us forget how absurdly difficult this work is, the way that Gringolts does … Gringolts's cantabile playing is as remarkable as his agility. Pianist Ashley Wass … is rock solid and always complementary’ (International Record Review)

‘His playing [Ernst] and his compositions astonished and delighted thousands. His transcription of Schubert's Erlkönig, played here with fiery vehemence by the young Russian violinist Ilya Gringolts, is a demonic tour de force worthy of Paganini himself’ (The Sunday Times)

‘Ilya Gringolts has the measure of both the virtuosity and the romantic sensibility—his performance of the fantasy is quite outstanding … he plays the lyrical passages with an intense commitment that's reminiscent of Heifetz. His imaginative grasp of the music's expressive character makes for a gripping account of the Élégie … and the unaccompanied items fare just as well … Gringolts' technical command, beautiful intonation and exciting, deep involvement with the music make for a great listening experience’ (Gramophone)

‘The music is very well crafted for voices, … the writing is consistently imaginative … the Trinity College choir sings exceptionally well … they make a super sound; the balance is consistently excellent and the timbre is appealingly fresh’ (MusicWeb International)» More

‘With excellent recording and splendid notes, I can only welcome this with enthusiasm’ (MusicWeb International)» More

‘Ešenvalds displays an impressive command and variety of musical language … soloist, choir and strings are first-rate’ (Choir & Organ)

‘Ešenvalds responds to the purpose of the words he sets, occupying similar choral territory to the likes of Whitacre and Shchedrin, character rather than ego dominating … Ešenvalds favours the upper voices, giving them luminous, floating melodies against backgrounds that set them in shimmering relief or throw mysterious, penumbrous cloaks around them. Polyphony typically balances beauty of timbre with precise articulation and empathy with the texts’ (BBC Music Magazine)

‘Within seconds I knew I was going to adore this CD and the music of Ēriks Ešenvalds … this is a performance of considerable impact, not least in the second movement when the electrifying choral cries of 'Crucify' dissolve so magically into calm, plainchant-inspired music above which Carolyn Sampson floats with angelic luminosity … if the music wasn't so utterly gorgeous, I would happily devote several hundred words to praising Stephen Layton for these totally absorbing performances. Along with Polyphony, he set the benchmark long ago, and while this is as good as anything they've ever committed to disc, the real praise here has to be reserved for Ēriks Ešenvalds, whose music clearly warrants a great deal more exposure’ (International Record Review)

'Those who value tango as a specific kind of mood music rather than specifically for Piazzolla's groundbreaking stylistic fusions will find this an unusual addition to the corpus of recorded tango. The sound environment created at the venerable Abbey Road studios is well suited to the recording's aims' (AllMusic, USA)» More

'Although Gershwin's music seems a little incongruous in the context of so many Tangos, the arrangement works well and is bound to be a crowd-pleaser' (MusicWeb International)» More

‘The Waldteufel and Fetrás waltzes both come off splendidly, as do the other pieces in their varied styles. Hyperion deserve to have another success on their hands’ (Gramophone)

‘If ever a programme was right up a choir's street, then this is it! From the fanfare-like opening of Exultate Deo and its soul-mates by Viadana, Gabrieli, Byrd and Monteverdi, through the linear beauties of Ave verum corpus (as set by Byrd and Philips) and Parsons' Ave Maria, the imploring devotion of Lotti's incomparable Crucifixus and the serenity of Tallis's O nata lux, all is brought glowingly alive. A real joy’ (Organists' Review)