‘This is the one we've looked for … with this set we're hearing, reliably and for the first time throughout, not the notes but the music—the whimsy, the grandeur, the levitating delirium, coruscating polyphony, eerie and airily populated aural mirages as the familiar Chopin materials provide the merest thread of piquant divagations winged by the sheer lilt lifting into ever more beguilingly alluring fantastications. The effect is like one's first encounter with Milton's earthly paradise. Obviously, Hamelin was born to make Godowsky live for us. First-rate production complements one of the great recordings of the century—and I do mean the 20th century with its whelming backlog of palpable genius. Stupendous! Ne plus ultra’ (Fanfare, USA)

‘A celebration of what is possible on the pianoforte … sensational’ (Hi-Fi News)

‘A huge achievement … and not only technically but musically as well. Hamelin delivers on every level: this recording had me gasping in disbelief, and then laughing out loud at the sheer audacity of it all—you really shouldn't miss them’ (BBC CD Review)

‘Hamelin’s award-winning release … has knocked us all sideways. Technically impeccable but artistically sensitive’ (Time Out)

‘Must rate as one of the great piano recordings; a stupendous achievement in terms of technique, musicianship and stamina’ (Classic FM)

‘It has become a critical commonplace to wax lyrical about the riches consistently uncovered in Hyperion's Romantic Piano Concerto Series, but it is nonetheless true for this newcomer … it draws playing of great refinement and balance from Hamish Milne and the BBC Scottish Symphony Orchestra … superb recorded sound, too: highly recommended’ (International Piano)

‘There is much about Goetz's concerto that is adorable—the slow movement in particular—and it is well worth the average listener's attention … Milne is aristocratic and subtle in both his tone and his interpretation, and this seems appropriate for Goetz's gentlemanlike personality and Concerto … the very Polish finale [of the Wieniawski] … has a main theme whose swashbuckling quality entrenches it in the ear’ (International Record Review)

‘Goetz delivers generous helpings of melodic warmth with his virtuoso passages, while Josef Wieniawski is all about showcasing the brilliance of the pianist's technique … Hamish Milne's distinctive playing of great clarity and sensitivity invests both these concertos with a characteristic of their own … another success for this long running series of discoveries’ (Classic FM Magazine)

‘Milne finds a deal more depth and poetry here [Goetz] and in the second movement, which also features some lovely passages for the woodwind and the horns … this is among the most rewarding concertos of Hyperion's entire series … Milne plays [the Wieniawski] up to the hilt (try the spectacular rondo-finale with its 'wrong note' chordal motif), relegating Setrak's 1987 Le Chant du Monde recording to silver medal position’ (Gramophone)

'Indispensable para un amante de la polifonía renascentista' (CD Compact, Spain)

‘Hauntingly beautiful music … a most rewarding experience’ (Organists' Review)

‘This is vocal chamber music of a high order—secure in tuning, varied in sonority and elegant in phrasing’ (Early Music)