‘It is a tribute to the quality of Stephen Hough’s musicianship that the new cycle’s most memorable performance should be that of Beethoven’s Janus-like Third Piano Concerto, the one—on record at least—that has often proved the most elusive … a soloist whose fineness of touch and sharpness of delineation recall those of such predecessors as Solomon and Gilels’ (Gramophone)

‘Dishing up a rich, lusciously executed bowl of nostalgia, Jonathan Griffith conducts with evident relish and affection … it'll be interesting to see if others follow where Griffith has boldly led’ (BBC Music Magazine)

‘Gugnin's masterful fluidity in the scurrying passages [of Blumenfeld's Étude pour la main gauche seule] is impressive; so is the judicious use of pedal. As with the subsequent Gabrilowitsch study, it's diffcult to believe that this music is performed by just five digits … Gugnin brings out the Chopinesque colours in [Hofmann's] 'Vision' and 'Nenien', while 'Jadis' is more playful. The sound quality is pristine throughout’ (BBC Music Magazine)

‘A masterpiece, one of the great works of 20th-century choral music … the recording quality is superb as are all the performers, though Helena Dix stands out in her liquid navigation of the high soprano lines’ (British Music Society Journal)» More

‘A texturally high-definition performance from David Hill and the superbly trained amateurs of The Bach Choir … it’s an electrifying performance: one of those you never knew you were waiting for but can’t imagine now ever doing without’ (Gramophone)

‘The combined forces certainly make a glorious noise, at its most impressive with the extensive Gloria section, while in the Credo with 'et sepultus est' the orchestra, finely recorded, sounds suitably tenebrous and macabre, followed by the choir's startling 'Et resurrexit' … uplifting’ (BBC Music Magazine)

‘From haunting stillness to exquisite plangency, the Latvian Jančevskis's choral music captivates with its sheer intensity. It is superbly sung here by the highly polished Riga Cathedral Choir’ (BBC Music Magazine)

‘Sitkovetsky sings with real passion, and is emotive … she is duly ecstatic in ‘Spring Waters’ and she hits the top notes of ‘How fair this spot’ with beautiful shading of dynamics. Vignoles is at his finest in the shimmering piano colours of ‘Lilacs’, a gorgeous performance’ (Gramophone)

‘The impression of this music being taken seriously on its own merits only intensifies when you press play … to say this disc makes the case for Schumann and Mendelssohn standing on their own two feet, away from the music of their menfolk, is something of an understatement’ (Gramophone)

‘These well recorded and beautifully played performances get inside the musical dynamics of these enormously appealing works and in the case of the piano trios make a good case for their having an enduring presence in the repertoire’ (BBC Music Magazine)

‘Both the Beach and the Elgar quintet—that strange, haunted self-communing of his later years—receive powerful, expressive performances from the Takács Quartet and Garrick Ohlsson’ (The Sunday Times)

‘For me, the outstanding thing here is the coupling, the Piano Quintet from 1907 by American composer Amy Beach. It's Brahmsian in ambition and Romantic range, but hers is an original voice and I don't think I've ever heard the slow movement lingered over with such loving expressivity … Garrick Ohlsson with the Takács Quartet—a really potent partnership. And the power and passion at play in the outer movements means this definitely doesn't come over as the lesser piece alongside Elgar's Piano Quintet in an equally heartfelt performance’ (BBC Record Review)