‘Markus Becker draws out the First Sonata's exuberance and assertive power. The much shorter Second Sonata is also more immediately endearing, the Third confirming Hindemith’s stature as a supreme craftsman with a sure dramatic touch’ (The Daily Telegraph)

‘Becker commands the structure of each work, and … is very impressive in the virtuosity of the Third. The new release also offers a set of Variations, discarded from the First Sonata: along with everything else here, this profoundly rewarding music—like Becker's playing itself—repays the deeper acquaintance of repeated listening’ (BBC Music Magazine)

„Bei Markus Becker … klingt Hindemiths Musik jedenfalls ganz und gar nicht hausbacken. Becker … weiß nur zu gut, wie man dieser Art von Musik zu Leibe rückt: mit Mut zum Risiko und ohne akademische Tüfteleien“ (Piano, Germany)» More

‘The Konzertmusik for brass and strings is fabulous—neatly constructed and beautifully written, as you'd expect from a composer who could play every orchestral instrument with some competence. Wise listeners will be drawn to experience its pleasures again and again, marvelling at the clever details, like the strings' opening chorale reprised on massed horns at the close of the first part, or the jaunty tuba line accompanying the second movement's subsidiary theme. The rush of adrenalin in the closing minutes is so uplifting, so positive … Martyn Brabbins's hardworking BBC Scottish players cope brilliantly with Hindemith's demands, also turning in a neat, poised reading of the three-movement symphony the composer drew from the opera Mathis der Maler. Hindemith's busy counterpoint seldom sounds dry, and Brabbins glories in the little moments of rapture—the first movement's sonorous coda, and the ecstatic brass Alleluias which close the piece. There's also the crowd-pleasing Symphonic Metamorphosis, gleefully transmuting Weber's small-scale piano duet themes into a unexpectedly entertaining showpiece. Bernstein's Israel Philharmonic recording remains the brassiest and punchiest, but Brabbins's performance has loads to commend it—fabulous percussion in the Turandot scherzo, and an elegant solo flute in the Andantino. A wonderful album, and the perfect introduction to a still under-appreciated composer’ (TheArtsDesk.com)

‘Hindemith's three orchestral scores in ideally gutsy persuasive accounts from Brabbins and his crack team. When a disc like this is presented with such panache, warmly detailed sound and persuasive sleevenotes, there really is no reason not to buy or download’ (Classical Music)

‘The BBC Scottish Symphony Orchestra audibly relish the challenges of each work and turn in immaculate performances of each, caught in superb sound by Mike Clements’ (Gramophone)

‘This fine album from Martyn Brabbins and the BBC SSO … illustrates in the Symphonic Metamorphosis and the Konzertmusik for brass and strings that Hindemith could be both warmly entertaining and bracingly intellectual at the same time’ (The Observer)

‘This fine orchestral programme … Brabbins and co relish the contrast between abrasive, declaratory brass and singing, soaring strings in the Konzertmusik … the Mathis is entirely worthy of this oft-recorded masterpiece, but the Weber Metamorphosis is the highlight, one of Hindemith's most attractive works, delivered with rhythmic bite and colouristic flair’ (The Sunday Times)

‘Power and Crawford-Phillips discover more in the music than has been revealed to us in the past … vital performances’ (Fanfare, USA)

‘All the performances are superb, with Lawrence Power lavishing all the richness of his velvety tone and generous phrasing on some of the most striking melodic ideas that Hindemith ever produced’ (The Guardian)

‘Power plays with his piercing intelligence of tone; Crawford-Phillips' pianism is quick with life’ (The Sunday Times)

‘Both players have the measure of this music, both technically and musically. They offer more verve and variety of both tone and musical approach than Kim Kashkashian and Robert Levin for ECM … all in all, these are excellent, well-recorded performances of these fine works, brooding and turbulent in the best traditions of the early twentieth century’ (International Record Review)