'The journey started with a pilgrimage to the grave of Father Alexander Men at Novaya Derevnya near Moscow. 'When I returned to London', says Alexander Levine, 'I had a strong feeling that I should start composing the music for the Liturgy straight away … I thought about this journey as the spiritual experience of a person who one day comes to the church to participate in a liturgical service, where prayers and music would cast upon him the joy of unification in spirit with the divinity of God through Jesus Christ.' The resulting composition certainly achieves this numinosity, with echoes of Tchaikovsky and Rachmaninov. The chamber choir Tenebrae under the direction of Nigel Short is in superlative voice and the recording at St Augustine's Church in Highbury, London, is crystal clear' (Cross Rhythms)» More

‘The three violin concertos … would happily stand comparison with Haydn's works in the genre. Soloists Francesco D'Orazio gives fine accounts of Lidarti's technically demanding music and his cadenzas are nicely in the style of the period … all four works reveal a composer with a keen sense of dramatic melody … these are all world premiere recordings, and violinists looking for new repertoire should certainly hear it’ (Early Music Today)

‘Christian Joseph Lidarti (1730–95) is another new name to learn and not forget again. Re-discovered for these premiere recordings by a Pisan vocal and instrumental ensemble, this is another composer to scotch the 'canon' which dominates concerts and recordings. Some 400 works of his can be found in the British Library and in a collection in Tuscany. These here are undated, but this eighteenth-century Italian composer bridges the baroque and classical periods. They are superbly realised by the consummate artistry and virtuosity of Francesco D'Orazio … an excellent first for Hyperion’ (MusicalPointers.co.uk)

‘Tunefulness, energy and general amiability … a true Classical period sensibility … the violin concertos are directed with verve and grace by the virtuoso soloist, Francesco D'Orazio … he is a lithe, elegant and characterful performer and his elaborate cadenzas are delightfully playful’ (Goldberg)

‘The enchantingly radiant quality of D'Orazio's playing and Lidarti's music … D'Orazio possesses just the right kind of lithe, flexible and elegant and pure sound this music cries out for, and he directs Auser Musici (familiar from an enchanting disc of Boccherini Flute Quintets) with flair, imagination and in the slow movements a moving sensitivity to line, dynamic and harmonic pacing’ (International Record Review)

‘An assurance of authenticity in the most meaningful sense, involving wholehearted commitment and the most thorough preparation on everyone’s part … absolutely glorious performances’ (Stereo Review)

‘It’s a gift for Hough, whose playing is stylish and assured … another winner. Fascinating, bold and fresh; a visit to the past without the smell of the museum. One of the most oddly attractive issues of the year so far’ (The Independent on Sunday)

‘This music makes heavy demands on the soloist, and Stephen Hough proves himself equal to the task in every respect … his playing has the sort of consummate ease and supreme conviction that few can match, and he gives the impression that he thoroughly enjoys the many challenges of Liebermann’s athletic piano writing … his playing is both rich in poetic insight and alive to the tonal allure of the score … an outstanding release that can be warmly recommended’ (Hi-Fi News)

‘Stephen Hough plays this music with total commitment, tremendous panache, and stunning virtuosity’ (Fanfare, USA)

‘Throughout, Hough plays with an intensity and brilliance’ (BBC Music Magazine)

‘There is much to enjoy in these two brash and captivating works … [First Concerto] is exciting music, and Hough plays it head down, full throttle and with glassy clarity … [Second Concerto] Hough performs it lovingly, as one would expect’ (Gramophone)

‘If you like big tunes and lush neo-romanticism, opulently scored, you will love it’ (Yorkshire Post)