‘In these works, balance between strings and piano has clearly been meticulously and carefully prepared and refined. There are some great recordings from the past out there … however, these don’t match this current version from Hyperion which is so beautifully recorded. It is hard to imagine that these works will ever be played and recorded better than this’ (MusicWeb International)

„Geisterhaft wirkt [Ibragimovas] Spiel oft, gespenstisch, virtuos. Das liegt zum einen an ihrer technischen Sicherheit, mehr aber noch daran, dass ihre Erfahrungen auf dem Gebiet historischen Musizierens auch hier Früchte tragen. Ob düster-ahnungsvolle Triller, angespitzte Läufe, harmonische Reibungen bei Akkordfolgen, glitzernde Ober-Töne, geschleuderte Staccato-Salven—Ibragimova lotet die Tiefen dieser Musik aus. Vordergründiges, Effektbezogenes interessiert sie nicht“ (Concerti, Germany)

‘In these works, balance between strings and piano has clearly been meticulously and carefully prepared and refined. There are some great recordings from the past out there … however, these don’t match this current version from Hyperion which is so beautifully recorded. It is hard to imagine that these works will ever be played and recorded better than this’ (MusicWeb International)

‘Part of the startling immediacy and modernity of Mahan Esfahani's performances comes from the range of sounds his modern harpsichord can produce, with its rich bass register … but also the breadth of Esfahani's imagination, his sense of theatre, his willingness to explore and experiment. It might be too much for some, but it'll be a revelation to others’ (BBC Record Review)

‘Cinquecento’s best recording since Palestrina’s second book of Lamentations (Hyperion CDA68284) and one cannot praise it more highly than that … admirers of Cinquecento will find themselves rewarded as never before by this recording. Admirers of Isaac who do not know this music, especially the mass, will find their admiration confirmed and perhaps even expanded. Explorers unacquainted with Isaac will discover a new musical territory replete with riches’ (Early Music Review)» More

‘Driver clears the hurdles of Book 1 with ease, from the fast-flowing first étude to the tumbling, kaleidoscopic sixth. He’s just as adroit when it comes to the mesmeric, rather witty perpetuum mobile that helps to animate the fourth. He also shines in the light, rather wistful fifth. Driver’s aided and abetted in this admirable enterprise by David Hinitt’s top-flight engineering, the sound full and finely detailed, startling in its presence and power … the comparatively short Book 3—études 15 to 18—is technically flawless, Driver’s remarkable dexterity and command of the piano a wonder to behold … superbly played and recorded’ (MusicWeb International)

«La saisissante plongée d’Alina Ibragimova dans ce répertoire soulève une question : pourra-t-on parler un jour d’« interprétations pandémiques » ? On a l’impression que la violoniste scrute le silence, écoute le temps s’écouler … sans moindrement sacrifier à la virtuosité, il y a remise en cause de tous les fondements de l’œuvre, comme la COVID-19 a remis en cause le cours si huilé de nos vies. C’est artistiquement et humainement pétrifiant» (Le Devoir)

‘Much of the focus on Vladigerov’s music has been on his bold, multi-coloured orchestral and concertante music, notably that for violin. There has been significantly less exploration of the solo piano music which makes this disc all the more welcome … Nadejda Vlaeva has recorded Bortkiewicz and Bach transcriptions for Hyperion. I’ve not heard the Bortkiewicz but I have certainly heard the Bach and it’s vividly played, lively and athletic. She brings precisely these qualities allied to a very real virtuosity and tonal sensitivity to this recital, recorded in one of Hyperion’s favoured churches in London. Francis Pott has done a tremendous job with the notes but it’s Vlaeva’s show, and she brings the young Vladigerov to life with bravura and elegance’ (MusicWeb International)» More

‘You feel the rapport between Paul Lewis and Steven Osborne immediately, the 'Berceuse' from Fauré’s Dolly so beautifully coordinated. Phrasing, colour, rhythm; this is like hearing a four-handed pianist. This is a gorgeous collection, two deeply serious musicians in mostly relaxed mood’ (TheArtsDesk.com)» More

‘Esfahani is a passionate performer rather than a scholarly purist and chooses the readings, like his choice of instrument, that make most musical sense to him—the sources he has consulted are all listed … the instrument delivers a smooth and homogenous performance under Esfahani’s nimble fingers, and—as always—his readings, as well as his playing, challenges many of the more conventional ‘period instrument’ assumptions … I recommend this recording not just for its well-argued and committed performances but for Esfahani’s challenging approach. He is on the way to recording all Bach’s keyboard for Hyperion, and if you like his style they will be well worth watching out for’ (Early Music Review)» More

‘The crowning glory of this album is Debussy’s Six épigraphes antiques, with which Lewis and Osborne make magic. They create a mysterious and calmly numinous atmosphere for the first two pieces, and convey the tonal ambiguities with what feel like casual flicks of the wrist. The fact that it’s four wrists in perfect accord is typical of this brilliant pianistic team: listening blind, one could imagine it’s a single pair of omnipotent hands’ (International Piano)» More

‘The music affords great delight … The Brabant Ensemble's performances are of excellent quality … and I recommend this CD as a most worthy celebration of the quincentenary of the composer's death’ (Cathedral Music)