‘This recording includes several of the most familiar, and finest, motets of the Spanish Renaissance sung, as the director is justifiably keen to point out in his notes, by a choir which has this music in its bones. This repertory is sung extensively by the choir, and its stylistic familiarity is evident right from the start … sitting listening to this sublime music in lockdown, one can almost believe that all is well in the world. Thank you to the singers, conductor, engineers and composers for providing some light in a dark world’ (Cathedral Music)» More

‘Alina Ibragimova has been a frequent recipient of well-earned praise from the editorial team here at Presto (and indeed elsewhere) for repertoire ranging from Mozart sonatas to Shostakovich concertos, but I think I’m justified in proposing that this is her most impressive achievement to date. To tackle some of the hardest pieces ever written for the instrument and not merely surmount their technical challenges but breathe vivid life into the music is a feat to which few living violinists would be equal’ (Presto Classical)» More

‘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