‘There has not been a more accomplished first recording of any British orchestral work in recent years. A glorious performance’ (Tempo)

‘As Milne's forthright, utterly secure performances make clear, much of this is strongly characterised music … Milne is a wonderfully persuasive advocate for this distinctive and underrated music; together with his discs of the Skazki, these performances are a fine complement to his earlier survey of the 14 piano sonatas’ (The Guardian)

‘Medtner had a gift for crystallising images within a concise musical frame. There are delights aplenty, and Milne brings out their beguiling expressive range’ (The Daily Telegraph)

‘The humorous Dithyramb No 2 is surely a masterpiece, and Milne happily strides its Olympian terrain with unforced richness of tone’ (BBC Music Magazine)

‘No pianist has done more for Medtner's reputation than Hamish Milne, and on this two-CD set of shorter works … he tells you that a still neglected and misunderstood composer demands to be heard … Milne, with his awe-inspiring grandeur and eloquence, speaks to you of music which tugs at and haunts the imagination … what wild capering in the Scherzo infernale from Op 2 and how arresting the pianistic layout in the First Improvisation, where Milne far excels Earl Wild's dazzling but musically more superficial reading … Milne's playing will surely make Russians, in particular, listen in awe to such magisterial command and poetic empathy … Hyperion's sound is incomparably superior … surely in the running for instrumental issue of the year’ (Gramophone)

‘I can only agree with the superlatives Hamelin has garnered from so many other reviewers. His technique is unsurpassed by any pianist of any era … he has prepared excellent new editions of both the sonatas and the Forgotten Melodies, several from Medtner manuscripts in his possession. Add to these performances a booklet with an excellent essay by noted Medtner biographer Barrie Martyn and you have a nearly perfect release’ (American Record Guide)

‘Hamelin realizes his conceptions with complete authority from top to bottom and proves that Medtner's phrasings, dynamics and tempo indications need little intervention other than for one to play simply, clearly, and beautifully. That's easier said than done, unless you happen to be Marc-André Hamelin’ (Classics Today)

‘Hamelin's performance captures the changing moods of this unjustly forgotten composer’ (Scotland on Sunday)

‘Hamelin's transcendental technique is breathtaking in the bravura numbers, and he is even more compelling in the reflective numbers, such as Two Tales which deserve wide circulation’ (The Sunday Times)

‘Brilliantly enterprising … certainly one of the finest in Hyperion's Romantic Concerto series’ (Gramophone)

‘This concerto is endlessly inventive and splendidly original’ (BBC Music Magazine)

‘Once again Hyperion hold the day. Strongly recommended … for a first-rate performance of one of the finest of all late-Romantic concertos ever composed, and for a fresh look at a chamber-music masterpiece’ (CDReview)