‘It's magnificent … entrancing. Don't miss this very special record … utterly flawless’ (Fanfare, USA)

‘This remains the prime example of Von Bingen's astounding creativity and originality. Her expressive, often awesome music ranks as the greatest of medieval composers. It's already sold over 200,000 copies! If you missed it, there's no reason to hesitate. Sensational!’ (In Tune, Japan)

‘An outright winner that merits a place in every collection’ (The Good CD Guide)

‘This is a marvellously moving recital … restrained, unexaggerated, and very, very beautiful. High loveliness like this is not common’ (Hi-Fi News)

‘Spellbinding music … of rare beauty’ (Westminster Press)

‘I was spellbound by both the music and the presentation … and have remained so ever since … a jewel in Hyperion's crown’ (Gramophone)

‘Ferdinand Hiller is yet another of those gifted, yet unaccountably quite forgotten romantic composers only now coming to light … here is another splendid entry in Hyperion's seemingly inexhaustible 'Romantic Piano Concerto' survey’ (American Record Guide)

‘It is clear that soloist/conductor and ensemble share a close musical relationship, with often-thrilling interplay occurring in the inordinate amount of back-and-forth between piano and orchestra in these works. Plenty of this is on display in the Third Concerto, a particularly fine work that balances devilishly demanding pianistic pyrotechnics with the prevailing significance of expression as specified by the composer … Shelley's virtuosity and musicianship glisten in the opening movement, with its haunting development section … Shelley and his TSO ensure that the F sharp minor Second Concerto is every bit as successful, from its attention-wresting opening gambit, to the marvellously angular piano melody at about 2:08 in the Andante espressivo, to the uplifting appearance of the second subject in the major at the end of the concerto. Even the early, bravura F minor concerto is full of deft wit and charm, its finale a magnificent and forward-looking crossbreed of waltzes by Chopin and Johann Strauss that allows Shelley to exploit his magnificent pianism to the full … an enchanting disc’ (Musical Criticism.com)

‘One of the more successful of Hyperion's prodigal disinterments of Romantic Piano Concertos. We have learnt from Howard Shelley's previous contributions to the series to expect brilliant and stylish playing, and he does not disappoint here. He also give full value to the lyrical elements’ (BBC Music Magazine)

‘These dextrous and remarkably self-confident concertos … are studded with delights … as a pianist, Hiller was known for his delicate touch—and Shelley reflects that characteristic in the breathtaking finesse of his playing. At the same time, there's plenty of bravura here, too, which Shelley handles with enviable technical panache … all in all, another triumph in this ear-opening series’ (International Record Review)

‘[Second Concerto in F sharp minor] is one of the gems of the genre, the first to be written in that key and with many surprising features such as the soloist kicking off proceedings fiercely and without any introduction … No 1 is a brilliant display vehicle … in No 3, presumed lost until recently, Hiller again strives to be innovative in terms of structure and handling of material … once more, one has to take off one's hat to Howard Shelley for leading such exuberant performances while simultaneously tackling demanding keyboard writing with amazing agility, innate elegance and complete stylistic empathy’ (Gramophone)

‘Markus Becker has clearly immersed himself in these pieces, instinctively knowing how and when to let Hindemith’s often-complex counterpoint breathe, and how to emphasise the attractive melodies. With excellent recorded sound and an enlightening booklet notes from Malcolm MacDonald, Hyperion has produced a noteworthy release with which to celebrate the music of Paul Hindemith’ (Classical Source)