‘Saint-Saëns described the Fantaisie as 'unplayable by the hands and feet' but Andrew-John Smith proves otherwise … in the more conventional repertoire, Smith capitalises on the colours that the La Madeleine instrument so richly offers’ (The Daily Telegraph)

‘The mighty Fantaisie pour orgue-Aeolian, complete with tubular bells, written for the new American Aeolian organ in 1906, sounds epic on this vast, brooding instrument, so splendidly tamed by the dextrous Smith’ (The Observer)

‘The variety of colour explored by Smith on this fabulous instrument contributes to the joyous experience of listening to his performance. The use of orchestral tubular bells … is successful and Smith's dextrous virtuosity thrills us though to the conclusion … the enthusiasm with which Smith talks about these pieces in his notes … is amply reflected in his playing, which is in turn commanding, sensitive, robust and lyrical, as the music requires’ (International Record Review)

‘If you are looking for these gorgeous, masterful pieces—and if you don't own them you certainly should—then purchase this disc in full confidence that it certainly doesn't get any better’ (Classics Today)

‘Outstanding. These are works no lover of chamber music should be without’ (Fanfare, USA)

‘Violinist Anthony Marwood and cellist Richard Lester are at their most expressively subtle and sweet-toned, floating phrases with a compelling memorability … add to that Susan Tomes's melt-in-the-mouth pianism—tonally ravishing, innterpretatively magical—another exemplary Andrew Keener/Simon Eadon production and absorbing booklet notes from Robert Philip, and this one should literally fly off the shelves’ (International Record Review)

‘Well, the Florestan Trio have done it again—if this disc doesn't at least win a Gramophone Award nomination, I'll eat my hat. Indeed, such is the cumulative emotional impact of these performances that, I don't mind admitting, I wept during the wonderful fortissimo climax of the E minor trio's first movement—that even before the astonishing intensity of the final, precipitous Allegro … recorded sound and accompanying notes are, of course, impeccable. No argument: just buy it’ (Gramophone)

‘The Florestan's rhythmic verve, subtle shading and luminous, sparkling textures (pianist Susan Tomes's cascading fingerwork a constant delight) catch the trio's spirit to perfection. A winner’ (The Daily Telegraph)

‘The cover shows a Renoir painting, Path in a Wood, and since the Florestans are playing we know just where the path leads: towards bliss. Their light, nimble style finds a perfect match in Saint-Saëns' youthful first piano trio, full of rustic charm; with these musicians there's never a dull phrase. In the weightier second trio, the inspiration runs around in spots. But never underestimate this composer: the Florestans don't. This CD can't miss’ (The Times)

‘There's hardly a dud among these 30-or-so songs on this well filled, perfectly recorded disc, an ideal accompaniment to a hot summer evening’ (The Daily Telegraph)

'Apoya magnificamente al baritono, firmando entre ambos un trabajo auténticamente digno de conocerse. Sonido exemplar' (CD Compact, Spain)

‘This is the most resounding blow yet to be struck for the mélodies of Saint-Saëns … Le Roux is one of the most charismatic performers of our time … this is certainly one of the best things he has done so far. A double welcome for performers and rare repertory’ (Gramophone)