'Winner of the 2000 Leeds Piano Competition, Alessio Bax, joins with his wife, Lucille Chung, in their award winning piano duo. Technically superb and perfectly balanced, they revel in the brilliant virtuosity of Piazzolla’s seductive tangos, and give loving performances of the Brahms waltzes. Equally enjoyable in Stravinsky’s four-hand version made for rehearsing the ballet, Petrouchka, but the work falls far short of the excitement generated in his Three Movements extracted for solo piano. The sound is a bit ‘pingy’ in the upper octaves' (Yorkshire Post)

‘The outstanding work here is the Concerto for piano and wind instruments, played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music's 18th-century references … alert accompaniments from the BBC SSO under Ilan Volkov’ (Financial Times)

‘Osborne and Volkov judge them perfectly—keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements’ (The Guardian)

‘This superb disc on which Steven Osborne manifests both his rhythmic élan and his refined sense of tonal shading, underpinning the performances with virile energy … the string-orchestra Concerto in D and two pithy orchestral miniatures complete an outstanding album’ (The Daily Telegraph)

‘The Concerto for piano and wind … places huge demands on soloist, conductor and also recording engineers, all of whom sail through unscathed by the technical problems and the difficult sonorities’ (Gramophone)

‘With Steven Osborne as soloist, the concertante works are in exceptionally good hands … after the Capriccio's grandiose opening, Osborne's tight control of the piano's insistent, driving textures provides a firm foundation for the opening movement's unexpected humanity and charm’ (BBC Music Magazine)

‘A wonderfully ebullient, rhythmically alert performance, and the recorded sound captures the work's utterly individual sonorities very well, with crystal clarity. Volkov's conducting has a drive and energy that matches Osborne's thrilling performance of the solo part … the Capriccio is only rarely heard in the concert hall, but it deserves to be played much more often, and from Osborne it receives the most persuasive advocacy. I don't think I've heard a more immediately engaging recording of the piece … the notes by Charles M Joseph are a mine of information and the recorded sound is excellent. Philippe Entremont and Stravinsky himself are impressive in the Concerto for piano and wind but Osborne and Volkov are lighter on their toes and theirs is a really splendid performance (I can't think of a better one on CD)’ (International Record Review)

‘This fine Stravinsky series … Steven Osborne plays all with diamantine brilliance’ (The Sunday Times)

‘Stravinsky makes considerable understated demands on his violinist, with frequent quantities of double stops, which Marwood dispatches with great style’ (The Strad)

‘It's the collective rhythmic energy and control of these players, along with their very obvious knowledge of the inner workings and details of the score, that make this such an impressive performance’ (International Record Review)

‘Pulcinella, The Nightingale, the Firebird and Petrushka take on fresher, lighter, more subtle colours and timbres, all exquisitely revealed in this masterly recording from the celebrated composer and pianist Thomas Adès and his long-time collaborator, the fine violinist Anthony Marwood’ (The Observer)

‘Marwood and Adès do the music every justice, bringing to their playing a sharp sense of rhythm and attack’ (The Sunday Times)