‘If you enjoy English song, this set is a must … The singers are Britain's best, and their excellence is matched by the accompaniments of Clifford Benson’ (BBC Music Magazine)

‘An indispensable collection for those who know the repertoire; a revelation to those who do not’ (Gramophone)

‘Lovely performances; beautiful sound. If you missed out first time round, don't hesitate now’ (Hi-Fi News)

‘Richard Hosford is the ideal soloist here, supple and silky, with beautiful tone: and his intensely delicate, only-just-audible pianissimi in the slow movement are a joy to hear … the work altogether is a little masterpiece which deserves to be much better known. Hopefully this excellent disc, so beautifully played and recorded, will do much to disseminate it’ (International Record Review)

‘The Gaudier's performances are thoroughly enjoyable: gracefully shaped, rhythmically exuberant and relishing the music's sense of fun. In the Clarinet Quintet, Richard Hosford negotiates his pirouettes and vertiginous leaps with aplomb. The tricky instrumental balances in the trio and quartet are expertly managed, while pianist Susan Tomes's scintillating fingerwork is a delight throughout’ (The Daily Telegraph)

‘The talented members of the pan-European Gaudier Ensemble are perfectly equipped to convey these different aspects of Weber's musical personality … With a top-quality recording, this is a disc which does full and thoroughly entertaining justice to a still underrated master’ (BBC Music Magazine)

‘[The sonatas] require a player with the fleetest of fingers, as well as an interpretative spirit that responds fully to the often flighty romanticism of Weber’s piano writing. Garrick Ohlsson meets these requirements in good measure, and his 1988 recordings, originally issued on Arabesque, make an attractive proposition in Hyperion’s two for the price of one reissue’ (The Irish Times)

'Recorded in April 2012 at London's Barbican, this live concert performance of Weber's Der Freischütz is a moving testament to the late Sir Colin Davis, as well as a thrilling performance in its own right, with top soloists: Christine Brewer in dramatic full throttle as Agathe, a pure-toned Sally Matthews (Ännchen) and Simon O'Neill urgent and ardent as Max. Spoken dialogue is handled briskly. The chorus, especially in the Wolf's Glen, enthralls, as does the orchestra, rising to every challenge, urgent or lyrical, heroic or poetic. Davis, as ever, balances unrushed tempi with moments of raw excitement and aural extravagance, of which there are many in this early Romantic opera' (The Observer)

'One of the marvels of [Sir Colin Davis’s] old age was the vitality he continued to bring to his music-making, combined with the wisdom of experience. Both are in evidence here, reinforcing Der Freischütz’s reputation as one of the most tuneful and psychologically profound operas in the repertoire' (Financial Times)

'The orchestral textures are pristine, the tempos and colours bracing and plaintive, with faultless work from clarinettist Chris Richards' (BBC Music Magazine)

‘Demidenko is in his element with such music. His control of contrasting dynamics is astonishing, and the clarity of his passagework is unfaltering. Not the least exciting feature of these superb performances is the marvellously appropriate cadenza which Demidenko improvises for the first movement of the E flat Concerto. The recording is magnificent. Don't miss this one!’ (Musical Opinion)

„Makellose Technik und musikalischen Verstand—eine Kombination, die man bei Pianisten heutzutage immer seltener antrifft. Und ganz nebenbei versprühen die Aufnahmen so viel Vitalität. Frische und erlichen Enthusiasmus, dass sie neben dem Interesse und der Neugierde auch die Stimmung des Hörers zu beflügeln verstehen“ (Fono Forum, Germany)