‘By way of the imposing nature of the resources—string quartet and piano—the approach to the genre is inevitably one of an epic nature, almost orchestral in its bold sound and texture, fluctuating between the intellectual demands of the symphony and the ‘competition’ of the grand concerto. Beach’s magisterial work, with its hugely demanding piano part, its plethora of thematic material and its coherent handling of form, meets both these conceptual demands (and which Ohlsson and the Takács Quartet serve with vivid colours and a vital energy) … the slow movement, one of Elgar’s greatest, is played with true profundity … Ohlsson and the Takács are to be congratulated for the warmth of their interpretation and for their ability to encompass the challenging range of Elgar’s complex moods’ (Gramophone)

‘In some ways, the Viola Concerto is similar in character and style to the Fourth Symphony and the pairing works well here. Soloist Lawrence Power, the work’s dedicatee, is sublime—there are frequent occasions when the orchestral texture is pared down to just a handful of instruments, ensuring that the viola melody (at once gorgeous and gruff) is clearly visible’ (BBC Music Magazine)» More

‘Power’s brilliance teases the very best out of this demanding work … every precious note of this concerto turns the viola into real manna from heaven. The potent Symphony (2015), energetically delivered by the seasoned BBC Philharmonic, under the able stewardship of Martyn Brabbins, is further proof of MacMillan’s talent for turning the orchestra into a potent mouthpiece … [MacMillan] is rapidly turning into something of a worldwide artistic legend the whole of the UK should be proud of’ (British Music Society Journal)» More

‘This is a very worthwhile addition to Hyperion’s Romantic Piano Concerto series. Piers Lane is a sterling and imaginative advocate for both concertos while Orchestra Now give him splendid support. Thanks to Hyperion we now have the primary recommendation for the Bliss concerto and a performance which I hope, will win new friends for Rubbra’s concerto’ (MusicWeb International)» More

‘Throughout the disc Lane, Botstein and the orchestra play with fervour and total understanding. I like their sometimes more relaxed tempi and the essence of the best of British music is captured to perfection’ (British Music Society Journal)» More

‘If there’s one factor above all that sets these performances apart it’s the osmosis between soloist and conductor. There’s a musical and intellectual friction going on here and it has to do with the balance between head and heart … Ibragimova’s playing has an unvarnished truth about it. It’s the kind of playing that looks you unblinkingly in the eye and tells it like it is. She’s not afraid to ‘invade your space’ or apply pressure to the sound until its rawness is almost unbearable. But equally she (and Jurowski and his marvellous orchestra) catches the emotional remoteness at the dark heart of the first movement [of No 1]’ (Gramophone)

‘Ready for some flawless Shostakovich? If so, check out Alina Ibragimova’s new recording of the two Shostakovich violin concertos with the State Symphony Orchestra of Russia 'Evgeny Svetlanov' and Vladimir Jurowski: it’s as searing a recording as they come … there’s nothing easy about either of these pieces—they visit some pretty bleak places—yet they’ve rarely been better served on disc than they are here’ (The Arts Fuse, USA)» More

‘Alina Ibragimova is the latest to make you think you’ve never heard [No 1] better played, and her intense relationship with Vladimir Jurowski and the current incarnation of Yevgeny Svetlanov’s ‘orchestra with a voice’, making just as compelling a case for the sequel concerto is supernaturally fine-tuned … the demands on the listener are unrelenting; put a distance between each work so you can come to the sequel fresh for another battering’ (BBC Music Magazine)

‘Ibragimova, aided by superbly full and colorful orchestral sound … seizes the soul and doesn't let go’ (Stereophile)

‘The symphony, which is one continuous span, is an enthralling work … I’d not heard the Viola Concerto before receiving this disc but I enjoyed it very much. Lawrence Power is a superb soloist and his partnership with the BBC Phil and Martyn Brabbins is terrific. The engineering for this disc was in the hands of Stephen Rinker; he’s done an excellent job, presenting the performances in truthful, clear and dynamic sound. The expert notes by Paul Conway give listeners a clear and perceptive guide to the music. Fine performances of two notable scores by James MacMillan make this CD a compelling proposition’ (MusicWeb International)» More

‘In the second concerto the tenderness of her tone is, at times, so elegiac as to amount to an act of mourning for ruined lives. The orchestra, reduced in size, is an echo chamber for the mortally ill composer’s innermost thoughts, those reflections dispelled in the finale by one of his macabre madcap dances. This is an essential record, five star from start to finish’ (The Critic)

‘Alina Ibragimova has the measure of this music, no doubt about it. I can see some listeners who might prefer a beefier basic timbre in the style of Oistrakh, with a less penetrating vibrato on top, but that is a matter of personal taste. By any standard Ibragimova’s playing of these two concertos is superb … terrific, well-balanced engineering caps an excellent release by any measure’ (Classics Today)