‘Her playing is full of insight, and, most important, deep affection for this most idiosyncratic composer, beloved by all bass viol players … one cannot fail to be stimulated … the sound is often sumptuous, sometimes the brilliance of the tenor in the Souldiers Resolution or Tickell, tickell, sometimes plucked, sometimes deep and mysterious in the lyra tuning for her opening improvisations which lead to Loves Pastime, and the playing has all the authority of long study of this puzzling, fascinating and beautiful music’ (Early Music Review)

‘From this old soldier I didn't expect touching intimacy, warm tenderness and real emotional introspection, but Heinrich finds it all and conveys it with such love and admiration that it's hard not to be won over. A gem in its own right’ (International Record Review)

‘No matter how difficult the music, Stephen Hough's effortless technique and eloquent, characterful musicality make everything sound easy’ (Classics Today)

‘No composer could ask for a better champion. His playing is fierce, sharply etched and eloquent throughout, with an emphasis on the formal balances that set this music teetering on the edge betwen Mozartean symmetry and the fiery impulsiveness of the Romantics’ (San Francisco Chronicle)

‘I have no hesitation in according this CD the highest marks’ (Fanfare, USA)

‘I doubt whether anyone today could play these sonatas better than Stephen Hough, who spins an exquisitely limpid cantabile, has an instinctive understanding of the rubato crucial to this style, and keeps the textures marvellously lucid … If you want to explore these brilliant, intriguingly diverse sonatas, this fabulous disc is the one to go for’ (BBC Music Magazine)

‘Stephen Hough turns his attention to the three most compelling of Hummel’s five mature solo piano sonatas. The F sharp minor, Op 81, and D major, Op 106, from 1819 and 1824, are large-scale works, revelling in an early-Romantic virtuosity that was to attract both Chopin and Liszt. The four-movement Op 106 is a huge creation of dramatic rhetorical gestures, while the much earlier F minor sonata, Op 20 (1807), gives a taste of the youthful Hummel’s exuberantly Haydnesque style. Hough proves a dazzling advocate for all three works’ (The Sunday Times)

‘Capricorn's combination of individual virtuosity with a persuasive sense of teamwork means both of Hummel's delightful chamber works really come to life … Hummel at his most dazzling, delighting us with his unpredictable instrumentation. The players vividly communicate their enjoyment of the music with scintillating performances’ (BBC Music Magazine)

‘The advocacy of the Delmé Quartet is persuasive and artistically unwavering. Their well-defined and technically accomplished readings are filled with vitality and spirit and marked by a thoughtful but not calculated and otherwise fussy approach that might hamper the spirit of the music’ (Fanfare, USA)

‘His trade-mark invention never flags, allied with grace and sophistication and a gift for melody second to very few. A fitting tribute to one of the least pretentious of composers’ (The Observer)

‘Compelling listening’ (Gramophone)

‘The performances by the fine mixed choir of choral scholars are superb’ (American Record Guide)