‘No praise is too high for Howard Shelley’s virtuosity and sensitivity (backed to the hilt by the Tasmanian Symphony Orchestra) nor his dedication in bringing to such vivid and persuasive life these two byways of the Piano Concerto repertoire’ (colinscolumn.com)» More

‘The Fragments from Hans Andersen are delightfully intimate character sketches and mood pieces illustrating the Danish writer's stories … compelling playing from Namoradze, from the simplicity of the Andersen fragments to the demands of the studies’ (BBC Record Review)

‘Every Stephen Hough album is an event because, unlike most pianists, the virtuosity and poetry of his playing is only the starting point of his art, not its conclusion’ (Daily Mail)» More

«Avec Pavel Kolesnikov, l’édifice se construit peu à peu, de l’aria initiale très ornementée, qui provient du Klavierbüchlein d’Anna Magdalena Bach, jusqu’à sa reprise tout au bout de ce monument intense, dont la progression atteint un niveau de diversité et de concentration qui demande de l’interprète un réel engagement. Cette qualité ne fait pas défaut à Kolesnikov, tant dans le domaine de la narration que de l’esthétisme, avec une émotion retenue, mais authentique, dans un contexte qui ne laisse jamais la place aux débordements ni à une dynamique qui serait ostentatoire. Pourtant, l’éloquence est présente dès la première variation, une éloquence fraîche et légère, nourrie de cet esprit engagé que Kolesnikov va déployer au fil des séquences … Pavel Kolesnikov vient s’inscrire parmi les versions pour piano de premier rang de cette partition géniale, qu’il sert avec une noble fluidité et une science de la présence sonore, très bien servie par une acoustique en phase avec son intention profonde, celle d’un échange, qui, au-delà de celui qui est prévu avec Anne Teresa De Keersmaeker, est consommé avec le compositeur lui-même» (Crescendo Magazine, Belgium)

‘A confident exploration of Machaut’s gently beautiful and restrained world … the Orlando Consort’s freshness, enthusiasm and colourful precision make it a truly distinguished collection. It’s hard to think that anyone new to such repertoire will not be impressed by the clarity and force of these singers … a persuasive introduction to Machaut’ (MusicWeb International)» More

‘The result is, by turns, delightful and absorbing. A monophonic ballade such as 'Dame, se vous m’estes lonteinne' (Lady, even though you are far away from me) is so tuneful that I found myself beginning to hum along when it was only halfway done. It helps that significant stretches of the melody get repeated, consistent with the structure of the ballade and other 'fixed' poetic forms of Machaut’s time. The countertenor, Matthew Venner, has a lovely smooth sound, and it helps that the two tenors have highly contrasting vocal qualities, enabling one to pick out the different melodic lines with ease … a fascinating trip through 14th-century France’ (The Arts Fuse, USA)

‘This is a most welcome new CD capturing four works which do not appear to have been recorded in full elsewhere. The playing throughout is masterful’ (MusicWeb International)» More

‘The faster variations flash by with a quicksilver wit, deftly showcasing Kolesnikov’s ease with this music … a wonderfully detailed and thought-out performance … it’s excellent’ (Limelight, Australia)

‘The piano writing glitters under Howard Shelley’s nimble fingers, and the final impression is that of good, clean fun … fans of romantic piano concertos will find plenty to enjoy, aided and abetted by Hyperion’s typically fine engineering’ (Classics Today)

‘This is the 82nd issue in Hyperion’s wonderful 'The Romantic Piano Concerto' series; many of these discs have given me a lot of pleasure, and this one contains melodious works from the pen of a composer who, as far as I am aware, is unknown outside his native Armenia … the playing and recording are fine, and once again, virtuoso Howard Shelley directs from the keyboard. This CD makes a fine addition to Hyperion’s series of concerto recordings’ (MusicWeb International)» More

‘This disc once again proves that we know only a tip of the iceberg of renaissance polyphony. Hardly any music by Cleve is available on disc, which is surprising considering its excellent quality, and the importance of Cleve in his own time. Cinquecento has done any lover of this kind of repertoire a great favour by delivering such superb performances. Like I said, it is one of the main ensembles in this repertoire, and their status is well deserved. These five voices blend perfectly, and the singers show a supreme command of legato. At the same time, they do everything necessary to make sure that the text is clearly understandable, even in pieces with a dense texture. There is some fine and effective dynamic shading, and particularly crucial episodes are nicely emphasized’ (MusicWeb International)» More

‘Kreisleriana, it could be argued, is far and away the most challenging of the cycles. While Hough’s approach is supremely lyrical, he is especially adept at capturing the sudden, unsettling shifts of tone and mercurial mood swings with which Schumann evokes ETA Hoffmann’s fictional character, Johannes Kreisler. This vivid portrayal of madness could only be achieved by the utmost restraint and poise. Poetic moments are heightened by tasteful asynchronicity of the hands and Schumann’s polyphony is lovingly delineated. Embarking on the great C major Fantasie, we are transported to a realm of almost ideal beauty. Hough’s various rubato strategies seem infinitely calibrated, each aptly suited to a specific emotional circumstance, while the attention to voice leading so prevalent in Kreisleriana is here redoubled to marvellous effect’ (Gramophone)