‘The versions by Sitkovetsky and Vignoles … form a notable addition to the catalogue and represent a remarkable achievement by an artist making her debut on disc’ (MusicWeb International)» More

‘The Hyperion disc is a clear winner, especially when you appreciate the quality of their playing of the Elgar Quintet, which is the best recording I have. In fact, both works featured here are treated to the best performances I have heard on disc, the strongly figured and articulated playing bringing out the best of both works. This is aided by the excellent recorded sound achieved by the Hyperion engineers which really brings out the sparkle in performances by Ohlsson and the Takács Quartet. Nigel Simeone’s notes only serve to heighten the enjoyment of the music and the performance; this is a disc which will give great pleasure’ (MusicWeb International)

‘An invigorating set, one that balances the best qualities of the historically informed movement—quick tempos, lean textures—with the full-bodied intensity of modern-orchestra Beethoven … throughout, Lintu and the FRSO supply accompaniments that are the model of expressive and technical precision. Woodwind solos, in particular, are spotless; balances between piano and orchestra flawless; tempos smart; attention to phrasings, dynamics, and articulative details pristine. The result is a captivating cycle of the Beethoven piano concertos that sounds and feels distinctly vital’ (The Arts Fuse, USA)» More

‘A delightful intermezzo [Bax's Morning Song] between the piano concertos by Rubbra and Bliss, and they're quite different animals—the Bliss extrovert and virtuosic, the Rubbra more of a reflection on English pastoral tradition. Piers Lane's a fluent and engaging guide to both of them’ (BBC Record Review)

‘It’s not often that a Schumann-Mendelssohn release packs many surprises. Then again, it’s really not often that a Schumann-Mendelssohn release focuses on the music of Clara and Fanny (rather than Robert and Felix). To judge from the Nash Ensemble’s recent entry in Hyperion’s catalogue, maybe there should be more of these? … indeed, for all three of these works, the Nash’s are, arguably, definitive performances’ (The Arts Fuse, USA)» More

‘Hough’s individualities of phrasing and subtleties of pedalling are all contained within a relatively Classical sense of order. He brings splendour to the greater grandiosity of the Emperor Concerto, but never seems tempted to inflate it into a prototypical Rachmaninov as some of his eminent predecessors have. Lintu steers a judicious course between Romantic indulgence and ‘authentic’ briskness in his choice of tempos and draws crisp, bright textures from what sounds like relatively modest orchestral forces’ (BBC Music Magazine)» More

‘It took more than a century, but Amy Beach’s Piano Quintet has finally got the recording it deserves, courtesy of Garrick Ohlsson and the Tákacs Quartet … a terrific release, wholly satisfying’ (The Arts Fuse, USA)» More

‘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)

‘This excellent release celebrates two glorious pieces for piano quintet with performances of unabashed élan. The Takács Quartet are renowned for the warmth and drama of their playing and could not be a better fit for such full-blooded works, while Garrick Ohlsson, a noted Chopin exponent, proves a similarly fine match in this generous, lyrical interpretation … with excellent recording quality throughout, this is in every respect an outstanding disc’ (BBC Music Magazine)

‘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