‘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)

‘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

‘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)

‘This is the finest modern recording of the Symphony I have heard … a triumph for all concerned. We should be grateful’ (MusicWeb International)» More

‘A terrific pianist (Georgian by nationality, b1992) with all the colouristic and stylistic attributes one could wish for allied to a formidable technique, the kind of musician whose artistry is like a compelling novel where you can hardly wait for what comes next … performances that lovers of high-octane pianism will want to snap up … superbly recorded and performed with such distinction, this release must be an early Awards nominee’ (Gramophone)

‘The redoubtable Howard Shelley once again proves himself the piano world’s St Jude: the passionate advocate of the Romantic concerto repertoire’s lost causes. The pianist’s nuanced and sweeping phrasing, his wide dynamic range and his perpetually singing tone convey both urgency and nobility to the point where he convinces you that this is great music. He also elicits hearty playing from the Tasmanian Symphony Orchestra, with balances that bring the winds and brass to the forefront … Shelley’s persuasive performances are self-recommending to those who’ve been steadfastly collecting each volume’ (Gramophone)

‘The famous rondeau Ma fin est mon commencement (‘My end is my beginning’) is especially pleasing in this thoughtful, clear performance. The Orlando Consort bear Machaut’s virtuoso writing lightly and keep the text clearly in the foreground … also of note is the solo-voice ballade Dame, se vous m’estes lonteinne (‘Lady, if you are distant from me’), with its familiar theme of unobtainable longing offering a moving moment of repose, beautifully sung by Matthew Venner, whose mellow countertenor tone infuses this album with warmth. Another wonderful and fascinating instalment in this impressive series’ (Gramophone)