‘Paul Lewis and Steven Osborne, two of Britain's foremost pianists, give matchless performances, and their virtuosic brilliance and unique sensitivity to the many nuances of these scores are an absolute joy to listen to. A real peach of a disc from one of Britain's best-loved labels’ (Classical Music Daily)

‘In Nos 5 and 6, Haydn even abandons the traditional sonata form for his opening allegros, shifting the expressive weight in each work to the slow second movement. It is in these—harmonically adventurous, formally ambiguous—that the London Haydn Quartet are often at their best, distilling an atmosphere of striking intensity in the ecstatic F sharp major Cantabile e mesto of No 5 and the resonant depths of the B major-ish Fantasia of No 6. The opening of the Sunrise (No 4) is similarly rich, leader Catherine Manson taking her time and unfurling the movement’s thematic material with improvisatory freedom … comparing these two period-instrument sets [the LHQ and Chiaroscuro Quartet] demonstrates once again that there is no single (or ‘right’) way to approach the infinitudes contained herein’ (Gramophone)

‘The ensemble’s sound is clean and ingenuous throughout: boyish sopranos and altos are balanced by fresh-voiced tenors and basses, intonation is nigh flawless, the recording limpid. Stephen Rice and his singers subtly capture the emotional and spiritual gamut of these works … Rice’s detailed liner notes, which include a summary of the scholarly debates surrounding the spurious works, wrap up this treasurable anniversary disc’ (BBC Music Magazine)» More

‘The issue [of attribution] is tackled head-on in this engaging programme, which includes a number of works over whose attribution debate is possible, and three securely ascribed ones to which one or more voices were added by a later composer—or perhaps, for Huc me sydereo, by Josquin himself. These ‘expanded’ versions are worth the price of admission … this rarely heard Josquin has much to tell us’ (Gramophone)

‘David Matthews continues to build on the rich British symphonic tradition, offering a principled alternative to those 20th-century styles that bore little if any audible relation to major-minor tonality … Matthews’s Eighth projects a winning eloquence and energy without ever lapsing into ponderousness’ (Gramophone)

‘A commendable disc performed with flair which offers a fitting soundtrack to these disorientating times’ (BBC Music Magazine)

‘The sequence works well as a recital-like experience, and also as a vehicle for Hough’s comprehensive mastery of his art … his playing impressively mirrors the immensity both of Bach’s conception and of Busoni’s tumultuous pianistic response. He brings the same monumental approach to the huge column-like pillars of sonority of Funérailles, following this with a super-virtuoso delivery of Liszt’s Bagatelle sans tonalité’ (BBC Music Magazine)» More

‘I think it goes without saying that you can't not plump for The Tallis Scholars—they've dedicated thirty-four years to researching and crafting their performances of Josquin's work. Peter Phillips absolutely lives the music and with The Tallis Scholars you get a clarity of texture, exquisite phrasing, and a luminosity of tone that is second to none’ (BBC Record Review)

‘Stephen Hough's new work is a concept album in which themes of life and death are explored in an intellectual master class from one of Britain’s finest pianists … the centre piece of the album is Hough’s own Piano Sonata No 4 ‘Vida breve’ (Short Life). A nine-minute piece, it has a melancholic and introspective but melodic drive, starting with a sparse upper register refrain that becomes the heart of the composition. Growing in complexity, it hints at a modern jazz sensibility, the main theme gradually moving down the keyboard before returning to the higher registers in the final moments. The album closes with Bach’s and French 19th-century composer Charles Gounod’s Ave Maria. Arranged by Hough, it’s officially known as the 'Méditation sur le premier prélude de piano de J S Bach' and the musical setting of the Latin text contains one of the most memorable funeral melodies. Quietly uplifting and hugely emotional, it offers a chance for reflection and prayer as Hough explores the composition’s notion of stillness and eternity. In these angst-ridden times, a vital, important work’ (Morning Star)

‘You may think an album of piano duets isn’t very exciting fare. But you’d be wrong; this is one of the most exhilarating CDs to have come my way in months. The British pianists Paul Lewis and Steven Osborne are both exceptional talents in the prime of their careers … their playing is spectacular, and brilliantly caught by the engineers … but the real attraction here, of course, is the music, a programme of French duets containing some of the finest music ever written for duettists’ (Daily Mail)

‘There is some wonderful music here. I’ve been a fan of the Brabant Ensemble for some time and can confidently say that this is one of their most outstanding recordings’ (MusicWeb International)» More

‘Hough’s selections include Chopin’s piano sonata featuring the funeral march (given a particularly taut rendering) … gloomy thoughts can never win when Hough’s touch is so penetrating and sensitive; when the programme includes the colourful swirls of Busoni’s Carmen fantasy after Bizet and his imposing transformation of Bach’s solo violin chaconne; when the acoustic is warmed by resonance; and when the lively booklet cover depicts the back of Hough’s head, seemingly ready for a smart day on the beach’ (The Times)