‘Throughout both opuses, the Takács members and the masterly Garrick Ohlsson (his subtle contribution to Elgar’s Adagio is special) make a dream team of true chamber-music interaction, recognising the privacy of the writing yet making it so communicative. Such fine music and music-making comes highly recommended’ (colinscolumn.com)» More

‘The Takács Quartet and pianist Garrick Ohlsson, without excess or hysterics, plumb every emotional possibility [in the Elgar]. Geraldine Walther’s glowing viola-playing shines in the lyrical slow movement, with violins, cello and piano equal in reply to her yearning melody’ (The Guardian)» More

‘Almost symphonic at times, incredibly complicated and intricately woven … really skilfully wrangled by David Hill who builds up the drama gradually, at the same time as keeping it very, very precise … quite a wonderful thing to listen to’ (BBC Record Review)

‘I couldn't resist this Parry [My soul, there is a country], which places those voices right in the middle of the building and makes you feel like you're there. We're incredibly lucky to have this tradition … the producers on this disc are the dream team of Peacock and Hinitt and, for me, one of their real USPs is how they really do manage these difficult acoustics … it works beautifully’ (BBC Record Review)

‘Brabbins and the BBC Phil pull out all the stops and Stephen Rinker’s engineering ensures that every detail of the multi-layered scoring, whether luminous or hard-hitting, and every dynamic, from chimed whisper to roof-raising fortissimo, is faithfully captured … it’s good to have two of MacMillan’s finest works coupled together’ (colinscolumn.com)

‘Ibragimova is especially convincing in the fragility of these intimate moments, though her playing also has sarcastic kick and flair elsewhere … in both concertos Jurowski is typically meticulous. He obtains fine playing from the State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov' … altogether, this is a disc with its own class and character’ (Financial Times)

‘A magnificent addition to the repertoire … Power’s command of the solo part fits like a glove. He brings a richness of tone and precision of intonation that wouldn’t be out of place in Berlioz’s Harold en Italie or Mozart’s Sinfonia concertante and applies them to MacMillan’s idiom. The results are invigorating, particularly in the dreamy slow movement and the passionate denouement of the finale. Martyn Brabbins leads the BBC Philharmonic in a stirringly discreet account of the accompaniment. The soloist is never covered by MacMillan’s sometimes-thick scoring, and the Concerto’s most striking moments—like the viola- and cello-section dialogues with Power in the outer movements and the piercing interjections of the central one—speak with biting expressive clarity’ (The Arts Fuse, USA)» More

‘The Beethoven releases come thick and fast in this 250th-anniversary year, but few, I suspect, will be as full of surprises as Hough’s first recordings of this central repertoire … with Lintu and the Finnish orchestra’s complementary accomplishments, he sets tempi that always sound right, and invests every phrase with a freshness and panache that takes the breath away’ (The Sunday Times)» More

‘Howells’ Missa Sabrinensis is a masterpiece, its true genius revealed in this exceptionally sensitive performance, recorded so lucidly that it defies its reputation for being difficult to perform. This is essential listening for anyone into Howells and the true greatness of his work’ (Opera Today, USA)

„Alina Ibragimova sehr inspirierende Deutungen zeigen nicht nur die exzellente Technikerin, sondern vor allem, dass diese Solistin die Musik zu ihrem Innersten Wesen macht und damit eine Intensität im Ausdruck erreicht, die in ihren Bann zieht. Auch bei diesen beiden Werken, die schon aus sich heraus das Innere des Komponisten offen legen, gelingt diese Symbiose überzeugend. So werden die eröffnenden Töne des ersten Soloparts im a-Moll Konzert fast schülerhaft stockend und damit doch auch so intensiv suchend und vorwärtsstrebend ans Ohr getragen, dass der Zuhörende sofort in den Bann gezogen ist und nicht mehr los kommt. Das Svetlanov-Orchester begleitet die Solistin unter der Stabführung von Vladimir Jurowski. Ihnen gelingt eine die Intensität spiegelnde Umgebungszeichnung, die von der Qualität des Ensembles zeugt, die über der höher gehandelten Qualität manches Klangkörpers aus dem gleichen Staate liegt“ (Pizzicato, Luxembourg)» More

‘The singing of this splendid group, a new addition to Hyperion’s already enviable roster of vocal ensembles, is crystalline and heartfelt. The Riga choir can seemingly do symphonically loud and chamber intimate with their eyes shut. They have been superbly prepared by Jurģis Cābulis and Hyperion’s sound is all that could be desired. The composer’s own notes are pithy and interesting, and texts and translations are present and correct. More please!!’ (MusicWeb International)

‘Stephen Hough’s long-awaited recording of the complete five piano concertos is a partnership with conductor Hannu Lintu and the Finnish Radio Symphony Orchestra, and the sparks struck between their crisp responsiveness and Hough’s immaculate blend of imagination and control are considerable. Magisterial one moment, wry the next, Hough is a whole orchestra in himself, and not a note is wasted’ (The Guardian)» More