‘The Four Pieces for cello and piano … are played with great warmth and variety of registral shading by Adrian Brendel … the surprise is the String Quartet No 2, a concentrated, varied work that best shows off the Nash players’ individual skills and collective empathy—and one written by Bruch at the grand old age of 22’ (The Strad)

‘Taking their cue from Stephanie Gonley’s first-violin leadership, the Trio and Quartet performances have a classy verve that convinces strongly … Adrian Brendel and Lawrence Power excel in the Romance and Four Pieces, as does Simon Crawford-Phillips’s accompanying—strongly characterful, while not looking to dominate—in both works and in the Piano Trio’ (BBC Music Magazine)» More

‘Hough’s playing is of an enviable freedom and flexibility, his shot-silk pianism endlessly blossoming with colour and nuance … few pianists can approach him as a master of finesse, and he is presented in sumptuous sound’ (International Piano)» More

«Le jeu d’Angela Hewitt, tout en finesse, riche en couleurs, à la fois limpide et brillant, est l’un des plus éloquents de notre temps ; on la retrouve toujours avec un réel bonheur d’écoute. C’est encore le cas dans ce panorama de transcriptions qui met en évidence le monde du sentiment amoureux par le biais de morceaux choisis avec beaucoup de soin et dont le programme est d’une parfaite cohérence. Détailler ici les vingt-trois plages d’un disque qui allie le charme à la profondeur de l’expressivité et au dépouillement de l’âme serait une gageure. Le mélomane aura en tout cas grand profit à découvrir, au fil des pièces sélectionnées par Angela Hewitt, toute l’essence de la rédaction de sa notice, claire, érudite sans être pédante, et surtout révélatrice du contenu secret de chacune d’entre elles, les textes des lieder étant reproduits lorsque c’est nécessaire, offrant ainsi un parcours qui parle autant au cœur qu’à l’intelligence» (Crescendo Magazine, Belgium)

‘It hardly needs saying that Christopher Herrick’s recital is superb. The ideal sound gives the impression of ‘being there’. The liner notes give all the information required for an intelligent appreciation of this repertoire … this is a well thought out recital, with lots of new discoveries (at least for me) and not a few ‘old favourites’’ (MusicWeb International)» More

‘A spectacular organ fabulously recorded in a mixed-bag programme of pyrotechnic displays of dazzling organ sound, interspersing works with a local connection, standard virtuoso showpieces, plenty of hitherto unknown gems and a sprinkling of more serious works from the standard repertory, all played with glorious panache and wonderful communicative zeal by the indefatigable Herrick … the whole programme is played with consummate mastery by Herrick, who brings out the fun, the colour and the joy of both music and instrument … Herrick clearly has a lot left to give the organ world’ (Gramophone)

«On peut sans aucune hésitation placer ce disque parmi les meilleures versiones de ces Caprices» (Classica, France)

‘Regular readers will know that I hold Cinquecento in especially high regard so it will come as no surprise if I open by saying that this new album, their third to feature works by Jacob Regnart (c1540/45-1599), maintains their exquisitely high quality of both performance and programme … Cinquecento are clearly in their comfort zone and immediately find a sweet spot for optimal polyphonic momentum that also allows the phrases room to expand. The balance is wonderfully clear’ (Gramophone)

‘To call playing ‘intelligent’ might seem to imply that it’s all a bit dry and analytical. But as fans of Stephen Hough will know, that’s far from the case with this extraordinary pianist. Above all, he always gives the impression that he’s thought everything through and come up with something authentically fresh—no striking attitudes or provoking for the sake of it … if you’re still perplexed or simply unconvinced by Schumann this may be the recording to open the door on a unique imaginative world’ (BBC Music Magazine)» More

‘I doubt that Regnart could have better advocates than Cinquecento, or ever will. To return to my opening words, the claim that they are ideally suited to this music is fully borne out by the performances, and the recording, especially in 24-bit format, and the presentation could hardly be bettered. As usual with Hyperion, the booklet, which comes with the download is an important factor in my recommendation—a few select labels match them in this, but others, contemptuous of those who buy their music, don’t think it important to include the booklet, even for music with unfamiliar texts. Lovers of the music of this period need not hesitate, especially those who have already chosen one or more of Cinqucento’s earlier recordings’ (MusicWeb International)» More

‘If there's a right time in life to record certain works, then Stephen Hough has chosen precisely the right time to record these masterpieces. They're familiar works but in Hough's hands we hear them afresh. Mature, worldly, insightful, probing—his playing is all these and more. In Arabeske, the shifting moods move like clouds across a field on a summer's day. The closing bars will take your breath away. Kreisleriana, which follows, is a masterclass in characterisation, Hough digging deep to bring us every precious moment. I vouch you've never heard No 2 played so lovingly, No 3 at times so wistfully or No 4 so thoughtfully. Similarly, in the livelier moments, as in No 5, Hough never sacrifices the music for mere virtuosity, always finding the beauty and the poetry in every passing note. As he also does in the Fantasie where, once again, his playing plunges us deep into Schumann's complex but ultimately life-affirming world’ (Pianist)

‘Following the end of the Opus One C major First Sonata I thought to myself, 'pretty damn marvellous'. Ohlsson’s masterly playing and divine blend of head and heart probe, richly express and blossom the music to its best effect, whether impassioned or intimate, con fuoco or Andante. Ohlsson is just as successful in looking beyond the pages’ thickets of notes to fully reveal the musical and emotional complexities of the Opus Two F sharp minor Second Sonata, its grandeur, drive, dramatic contrasts, and lyricism, whether troubled or beguiling. Rarely have I found so much in this particular work’ (colinscolumn.com)» More