‘First rate in every way: thoughtful and spirited accounts of all three pieces’ (Classic FM Magazine)

‘Irresistibly lovely music, the Florestans respond to it with performances of finesse and insight. Textures are warm, and the recording clear and well-focused. A first-rate recommendation’ (The Scotsman)

‘A triumphant successor to their previous disc of Schumann. Indeed, it’s one of the best discs of Schumann chamber music I’ve heard in recent years’ (International Record Review)

‘Delightful. Most refined performances of lovely music’ (Classic CD)

‘Marvellous performances. The Florestan trio, individually and as an ensemble, plays with flawless technique, integrating sounds and ideas perfectly. Altogether, a fine recording’ (Fanfare, USA)

‘This latest recording confirms that the Florestan Trio has become one of the most exciting and compelling chamber groups around. Their skill is that they let the music speak for itself but play it with passion … magical’ (Daily Express)

‘Revelatory performances from the Florestan. Excellently recorded, this welcome disc should win all three works a new lease of life’ (Gramophone)

‘The Florestan Trio plays all these works with characteristic thoughtfulness and intelligence. It is difficult to find fault with its performances. A valuable and highly enjoyable addition to the Schumann discography’ (BBC Music Magazine)

‘The Florestans—named after the more extrovert of Schumann's two artistic alter egos—have, in only five years, established themselves as the piano trio par excellence of our day. Their previous Schumann disc, comprising the D minor and F major trios, won deserved acclaim and a clutch of awards. Now they turn their attention to the late G minor trio, a comparative rarity in the concert hall these days. Listening to such exhilarating, spontaneous accounts of this wonderful music, it is hard to understand its neglect. Another superlative issue from Hyperion and the Florestans’ (The Sunday Times)

'Dos jóvenes pianistas aparecen en el horizonte del siglo XXI. Sin duda la antigua escuela de los Brendel, Lupu, etc. tiene difícil sustitución, pero un nuevo pianismo se presenta con estos nuevos artistas; un toque pulido, claro, buena técnica y no demasiado fervor, tratando a los genios románticos con cierta distancia, aliados con su calidad sin que su expresión empañe el discurso. Así parece expresarlo Angela Hewitt que propone dos muestras significativas y atractivas: Humoreske de Schumannn y, por otro lado, el monumento de El clave bien temperado de Bach, con cuidados legatos y una sonoridad homogénea' (La Vanguardia, Spain)

‘Hewitt’s highly personal performances demonstrate a sure grasp of character. Her deep understanding of the music’s beauties, quirks, and pitfalls makes for a most compelling listening experience’ (American Record Guide)

„This is very superior playing indeed: an object lesson in pianistic refinement, tonal expressive and psychological imagination, and musicianship of the highest order. Hewitt's tonal palette is vast, exceptionally controlled and never indulged for its own sake … the tenderness and luminosity of tone in the slow movement of the sonata are quite haunting in thier immediacy—indeed that immediacy is amongst the hallmarks of the whole recording, be it haunting, jubilant, playful, morbid, dramatic or any of the other emotions and spiritual atmospheres that Schumann traverses almost as a matter of course“ (Piano, Germany)