‘Two superb voices alive to Gibbs’s many moods, while Roger Vignoles accompaniments are a model of sensitivity and understanding’ (BBC Music Magazine)

‘Lyrical, imaginative … Geraldine McGreevy’s soprano voice is sweet and pure’ (Classic FM Magazine)

‘Songs which gain in stature through being presented in sequence and superbly done’ (Gramophone)

‘Most of these songs I had not heard before, nor, I suspect, have most listeners. Hyperion must be thanked for making them available’ (International Record Review)

'Here is a noble tribute to a noble pianist. Gina Bachauer (1913-76) was an artist whose exultant virtuosity and unswerving musical honesty became one of music’s legends … the recordings capture much of this artist’s immense dynamic range and Bryan Crimp’s accompanying essay lovingly charts a truly charismatic career' (Gramophone)

'How long before the Kronos is labelled the 'American Smith Quartet'? … they are ahead of the curve at generating new repertoire and taking the experimental back-catalogue seriously' (Classic FM Magazine)

'If success was measured according to output and sales units alone, Glass would be head and shoulders above his contemporaries … played with characteristic precision and projection by the ensemble' (Gramophone)

'Glass weaves filigree tapestries given polished, finely detailed airings by the virtuoso Brits' (The Observer)

‘Sparkling performances … his playing is by turns gloriously extrovert and affectionately intimate … superbly recorded orchestral colours’ (BBC Music Magazine)

‘As in his four-disc set of Glazunov's complete solo piano music, Stephen Coombs is poetic and powerful. The rare Goedicke concertante makes a charming filler’ (The Guardian)

„Stephen Coombs is on scintillating form throughout, turning even the most standardised of virtuoso gestures into remarkable utterances“ (Piano, Germany)

‘Perhaps as an 'offspring' of her tutelage under the Russian pedagogue Zakhar Bron and iconoclast violinist Ida Haendel, Ms Hanslip harbors an acquired affection for these two composers, bringing to the infrequent Schoeck Concerto (1910-1911) a rare commitment and resonant vitality. Much of Hanslip’s playing of the music of Glazounov hearkens back to the artistry of Nathan Milstein, whose fondness and natural expertise in the Glazounov Violin Concerto (1904) and Meditation (1891) possessed an equally illumined elegance. In terms of lyric outpouring, the one-movement concerto provides a fluid, singing vehicle for Hanslip’ (Audiophile Audition, USA)