‘The repertoire she’s chosen may consciously look back to a different age, one marked by sensibilities that might seem saccharine or even mawkish to some today, but by showcasing these twelve remarkable instruments and committing herself fully to the beauty of that soundworld, she demonstrates that they are very much more than museum pieces’ (Presto Classical)

‘Tones on offer from this complex assemblage, arranged through the violin specialist J & A Beare, range from brilliant to dainty, ethereal to smoky, each more or less suited to the 15 short pieces played, ranging from Schumann to Jerome Kern’ (The Times)

‘[Ohlsson] has power and agility in reserve, which means that he can take fences in his stride that find others huffing and blowing … nor is Ohlsson afraid of plain speaking, so that the evident care he lavishes on the music never crosses the border into mannerism and the long lines of quasi-symphonic thought are never broken. The same goes for the Rhapsodies, which are as fully developed and as non-rhapsodic as movements from the piano sonatas that Brahms seemingly never composed after the age of 20. Not for a moment did I feel I was in anything but the safest of Brahmsian hands. All this is indeed mightily impressive, and I would welcome this disc into my library with open arms’ (Gramophone)

‘All of you pipe organ cognoscenti out there that always enjoy listening, either 'live' or through recordings, to the instrument and not only for the music written for it but also because of its highly distinctive sonic qualities, will really find many delights in this new recording by organist Christopher Herrick. And there's even something here for those of you who consider the pipe organ to be too much of a liturgical instrument. One go-through of this recording may convince you to reconsider that opinion … highly recommended to any and all pipe organ music enthusiasts!’ (Classical Music Sentinel)

‘Stephen Hough brings his habitual cool authority to bear on these emotionally superheated pieces, and the results are very satisfying … improvisational and intermittently hurtling, the first movement [of the Fantasie] has a nobility which segues gracefully into the serene singing middle movement, with its alternating baritone and soprano voices. In the finale Hough deploys some gorgeous effects, before bringing us gravely home’ (International Piano)» More

‘Performer, teacher and promoter—Laurence Perkins was ideally placed to have created this anthology with ‘the bassoon leading a musical journey through the twentieth century’, as is confirmed over almost two and a half hours of often unfamiliar but always worthwhile music … an engaging guide throughout, Perkins gets sterling support from a wealth of fine musicians and ensembles. His booklet notes, setting each work in the context of relevant world events, are a quirkily perceptive enhancement of this enterprising and wholly recommendable project’ (Gramophone)

‘If, in the issue of Eusebius and Florestan, Hough comes out firmly on the side of Eusebius that is not to say that he lacks virtuosity. The most successful single section on this disc is probably the middle movement of the Fantasie. In its closing pages Hough leaves all rivals trailing in his wake, making even the mighty Horowitz sound ungainly. What I especially liked about Hough’s handling of this movement was that, even here, Eusebius has the upper hand where most others pummel the listener into submission with mighty clods of chords. Hough never loses sight of the fact that this is poetic music … the piano sound is most agreeable and suits Hough’s approach perfectly. It is warm and ripe yet never lacks clarity. It is never hard or metallic sound. All in all, this is a recording that shows Hough at his considerable best in terms of poetry and virtuosity and deserves to be considered alongside the very best in these often-recorded works’ (MusicWeb International)» More

‘Let these five elite chamber musicians convert you to the cause … you won’t find better advocates … the melancholy Romance for viola is a plum, slightly better known in its orchestral version, but here gloriously played by Power and Crawford-Phillips’ (The Guardian)» More

‘Hewitt’s innate taste, discernment and creativity have resulted in a lovely experience in a world still menacingly dark and grim for reasons apart from the pandemic … as usual, Hewitt’s liner notes are a model of seamlessly melded scholarship and personal reactions and reminiscences … one especially imaginative inclusion, which was not technically a song at all, is Hewitt’s own transcription of the Adagietto movement from Mahler’s Fifth Symphony’ (Limelight, Australia)

‘Here we have that rare beast, a program of bassoon music. Laurence Perkins, Principal Bassoon with the Manchester Camerata until 2017, has assembled in chronological order a century’s worth of pieces by 14 composers that utilise his instrument in various ensembles … the program is ideally laid out for timbral contrast. Perkins plays with sensitivity and warm tone on the woodwind instrument with the most ‘human’ voice’ (Limelight, Australia)» More

‘Garrick Ohlsson’s account [of Op 1] … is full and faithful. He has a fine feeling for the music’s scope and scale’ (BBC Music Magazine)

‘Angela Hewitt’s spacious, uncluttered approach revels unashamedly in the pianism while still letting the original songs sing … the real treats are Hewitt’s own arrangements … the engaging liner notes weave a thread through Hewitt’s own memories as well as the parent music. In all, this beautifully recorded recital is a gift to all song-loving pianists who wrestle with the instrument’s stubbornly percussive nature’ (BBC Music Magazine)» More