‘The voices of Cinquecento produce balanced, tuneful, clear and stylish performances … the quiet tensions of the 'Et incarnatus est' section are beautifully rendered, and the Benedictus is displayed and sustained with perfect poise … the recording deserves credit, too, for lending substance and space to the mere six voices that produce these compelling harmonies’ (BBC Music Magazine)

‘[Cinquecento] gives resounding interpretations of the pieces … the ensemble's sonorous tone is based principally on a perfect balance between the voices, taut and intelligent pacing and a supremely confident shaping of musical line. The effect of their performances is enhanced as much by the lucid and warmly resonant recorded sound as the euphonious clarity of Schoendorff's writing’ (International Record Review)

‘Cinquecento's famed flexibility, harmonic blend and impeccable balance are caught perfectly in the stillness of the monastery at Pernegg in Austria. This is a disc to savour’ (Gramophone)

‘Given the fine track record of violin-piano duo Alina Ibragimova and Cédric Tiberghien, it’s not surprising to find them completely at home—lyrically poised and intimately dynamic—in Schubert’s four sonatas. But this disc is about the composer’s complete works for violin and piano, and how refreshing it is to have the fiery, often whimsical Rondo in B minor reeled off with such élan; to hear the multi-coloured expansiveness of the four-movement Fantasy in C minor, with all its playful pianism to boot; and Schubert’s delightful miniature transcription of his own song Sei mir gegrüsst!, itself the subject of variations in the Fantasy’ (The Scotsman)

‘Most bewitching of all, and performed with a lightness and poise by this established duo, is the Fantasy in C major, breaking convention at every turn, written in 1827’ (The Observer)

‘Ibragimova and Tiberghien play with flair and taste’ (The Sunday Times)

‘Ibragimova and Tiberghien encompass the music with exhilarating flair … and with a keen stylistic ear’ (The Daily Telegraph)

‘The three Schubert Sonatinas are each rendered beautifully to scale by both partners … the felicities are of course manifold … Ibragimova and Tiberghien rise admirably to Schubert's late musical and technical challenges. In the aforesaid finale, they really let their hair down and the result is truly exhilarating. The Fantasy is as much a challenge to the pianist as to the violinist: Tiberghien emphatically holds his own!’ (International Record Review)

‘When Schubert’s melodies send Ibragimova soaring into the skies or when she tosses off filigree decorations she stays at her electrifying best. Try her wonderful high-wire pianissimos during the leisurely C major Fantasy of 1827, the most Schubertian of all the pieces, sweetly dominated by variations on his soulful song setting of the Rückert poem Sei mir gegrüsst!. As for vigour, nothing sets the pulse racing as much as his B minor Rondo, the most assertively rhetorical work here, given a performance powerful enough to stand in for the National Grid. Much to enjoy here’ (The Times)

‘Beautiful and touching … the performances of the virtuoso Rondo brillant and Fantasie are exhilarating; the Rondo combining lively momentum with a sense of poise and the Fantasie beautifully characterised in all its varied aspects. Especially fine are the episodes in Hungarian style, full of energy and grace, and the barnstorming finale, rivalling the famous 1931 recording of Busch and Serkin’ (Gramophone)

‘Performances which it is hard to imagine ever being bettered’ (BBC Music Magazine)

«Certes nous n'avions «besoin» d'une nouvelle interprétation des Quatuors «La Jeune fille et la mort» et «Rosamunde», mais ce CD est imparable … les Takács ont plus que bein réussi leur entrée au catalogue Hyperion. Si leur version de «La Jeune fille et la mort» fait jeu égal avec les meilleurs, celle de «Rosamunde» se dégage vraiment comme un très grand moment de la discographie schubertienne» (Classics Today France)