‘Ibragimova arrives at Paganini’s Caprices via Bach’s Sonatas and Partitas and Ysaÿe’s Sonatas and finds them flamboyant, challenging, innovative, artistic and with an abstract majesty that eludes easy classification … until you’ve heard Ibragimova’s compelling, insightful accounts of these endlessly fascinating pieces by an endlessly fascinating composer, you don’t know what you’re missing out on’ (Limelight, Australia)» More

‘As with all of the performances here there is a palpable sense of enjoyment from all of the players. The English Chamber Orchestra is well seasoned in this repertoire, and accompanies with positive character and sublime phrasing, and the recorded balance is not too heavily in favour of the pianos above the orchestra … this release from Hyperion can stand comparison with any alternative, and is therefore a highly desirable prospect indeed’ (MusicWeb International)» More

‘The sturdiest technique, a will of iron, the most flexible wrists, a big leap of courage: such are some of the requirements, easily fulfilled on this exciting album by the adventurous violinist Alina Ibragimova … her muscular, thoughtful approach keeps you listening, mostly with awe and wonder. Paganini intended his pieces as exercises in bowing techniques, difficult fingerings and such. Ibragimova reminds us that they are also vehicles for powerful emotions, daringly expressed and in spirit eternally modern’ (The Times)

‘Driver has a wide repertoire, which goes back to Bach and Handel as well as including the standard piano works and a good deal of contemporary music and others off the beaten track. I think his wide experience of music has helped him bring light and shade to these demanding études and bring out their qualities as compositions. Incidentally, he writes his own, very helpful, sleevenote, from which I have borrowed. The recording is luminous … if you have the quite reasonable wish to have the complete set on one disc, this will do very nicely’ (MusicWeb International)» More

‘It is illuminating to compare Danny Driver’s excellent version with the touchstone recording by the composer’s early champion Pierre-Laurent Aimard … Driver brings this music in from the cold to the pianistic mainstream … [his] expressive approach will have broad appeal, and he certainly takes Ligeti’s technical hurdles in his stride’ (Limelight, Australia)» More

‘This excellent disc is another fine addition to the discography of the Choir of Trinity College, Cambridge. The choral pieces were recorded over a period of three years during which there were inevitable changes in personnel, yet the standard is consistent—and excellent. As ever, the freshness and discipline of this group of young singers is exemplary, showing just how thoroughly they are trained by Stephen Layton. Both in St George’s Chapel, Windsor and in the chapel of Trinity College, engineer David Hinitt and producer Adrian Peacock have recorded these performances expertly for Hyperion. Paul Conway’s notes are ideally informative’ (MusicWeb International)» More

‘With this CD the discerning collector is once again in debt to Hyperion’s stimulating catalogue of contemporary choral repertoire, one enhanced by performances and recordings of the highest quality … this is an altogether admirable release and is very well worth investigating’ (British Music Society Journal)» More

‘[Ibragimova's] facility, speed and precision, breathtaking throughout, never loses sight of musicality. Listening to these short works in one sitting can feel like an overlong firework display. Not here. Ibragimova infuses them with addictive variety, grace and insouciance. She obviously has 20 fingers’ (The Guardian)

‘In the Exotic Preludes … Vlaeva lights the blue touchpaper and keeps the combustible invention flowing … the splendid Vlaeva is no newcomer … Hyperion’s artistic values are evidenced by decent measures of silence between tracks and Vlaeva benefits from extremely finely engineered sound that communicates a life-imbued tone and an open acoustic. All this is as immaculately engineered by Ben Connellan and produced by Rachel Smith’ (MusicWeb International)» More

‘This is a unique and fascinating project and achievement … it is a credit to all concerned that the music emerges as clear, expressive and suitably moving. The singing, as ever with this group of seven male voices, is of the highest quality. The texts are provided and there are also colour illustrations of the manuscript’ (MusicWeb International)» More

‘Throughout these Études, Driver’s playing marries tonal warmth with textural precision … Driver’s sense of the music’s character is unerringly on-point, too … there’s lots of energy to be had throughout and, often enough, he draws out the dancing impetus behind Ligeti’s writing. Taken with the bracing clarity of the musical line, the disc’s excellent recorded sound, and an informative, personalized booklet note by the pianist, Driver’s is a welcome, distinctive addition to the Ligeti Étude discography’ (The Arts Fuse, USA)» More

‘Today, the performance of the polyphony of the Renaissance is pretty much the domain of specialized vocal ensembles, which sing masses and motets as part of a concert in a church or even a modern concert hall. The majority of recordings also features such ensembles. However, around the globe there are choirs for which this repertoire is part of the liturgy. They sing this kind of music on a daily basis. One of such choirs is the Westminster Cathedral Choir, which has recorded frequently for Hyperion. The present disc is the second of another choir of this kind, The London Oratory Schola Cantorum … and a very fine choir it is. I enjoyed the Christmas disc, and I am just as happy with the present recording, also because I happen to have a special liking of Spanish polyphony. I hoped it would be served well by this disc, and it is. The singing is excellent, and shows a commitment which is undoubtedly the effect of the music's being the singers' daily bread. The pieces recorded here are treasures indeed, and so is this disc’ (MusicWeb International)