‘Gidon Kremer has made a virtue of bringing lesser-known composers to the international stage, the Czech Victor Kalabis (1923 - 2006) being an excellent case in point … Kalabis’s indubitable compositional skill and fine command of structure demonstrate his worth, qualities that are highlighted in these perceptive performances’ (The Strad)» More

‘Lim is never daunted by the accumulated weight of performing tradition; rather, he’s in command of a distinctive vision that has at its disposal a boundless palette of colours that can pivot in an instant from glittering iridescence to impossibly deep soulfulness … a performance for high days and holidays perhaps, but an indisputable ‘musthear’ nonetheless’ (BBC Music Magazine)

„Dieser Chor mag etwas weniger bekannt sein, vor allem ausserhalb des Vereinigten Königreichs, als die Chöre aus Cambridge und Westminster, aber er ist qualitativ diesen keineswegs unterlegen … Palestrina wird hier in seinen historischen Kontext gestellt, indem es auch Motetten von Kollegen, Schülern und Enkelschülern gibt. Darunter sind mehrere, die heutzutage kaum bekannt sind. Das macht diese Produktion umso wertvoller … sie ist ein wichtiger und erfreulicher Beitrag zum Palestrina-Gedenkjahr“ (Critica Musica, Germany)» More

‘Osborne’s performance conveys an impressive sense of both the expansive scale of the four-movement work and its lyrical ebullience. He gives the opening gesture (which will return in the final moments to devastating effect) all the grandeur it needs, perfectly balanced against the delicacy of the figuration that follows, and as the performance unfolds, every detail is just as perfectly calibrated … his performance is one to set alongside the finest on record’ (The Guardian)

‘All in all, then, this is a brilliantly programmed disc. Though its lineup may look formidable, it proves anything but forbidding thanks to the artistry of all parties involved’ (The Arts Fuse, USA)

‘The Takács Quartet and Marc-André Hamelin perform [the Price] with their customary command, responding if anything yet more keenly to its shifting moods than the Kaleidoscope Collective in its fine premiere recording. The same goes for the Dvořák, in which Hamelin and the Takács highlight the Brahmsian energy that powers the music while not forgetting the work’s essential lyricism, most notably in the miraculous dumka second movement. Transparent sound (in Monmouth’s Wyastone Concert Hall) nevertheless still allows the elemental earthiness of both works to make its mark’ (The Strad)

‘Dvořák’s Op 81 Piano Quintet still attracts high-level performers … [Hamelin's] delicate pianos and tasteful accompaniments make the estimable Rubinstein (RCA, with the Guarneri) seem generic by comparison, and his quick scales and runs in the Price are scintillating. The Takács players, as always, have the style down, covering a full range of moods … Hyperion’s unobtrusive ambience is predictably excellent’ (Stereophile)

‘An entertaining and enlightening recital, planned with insight and executed with aplomb’ (Gramophone)

‘After an excellent album with Kalabis’s Concerto for harpsichord and string orchestra, which was written for Růžičková and recorded by her student Mahan Esfahani [on Hyperion CDA68397], Hyperion brings out a small Kalabis treasure trove. It is a welcome addition to the modest discography of this composer. Kalabis is lucky to be championed by Gidon Kremer and his Kremerata Baltica. The album opens with four Duettina from 1987, in which the violinist is joined by the brilliant young Latvian cellist Magdalena Ceple. Under their fingers these duos sound like a happy homage to both Bartók and Enescu’ (Gramophone)

‘One of those rare occasions when composer, score, soloist, conductor and orchestra all combine in perfect synchronicity, when ‘everything comes together’ if you will … your hardened reviewer is not ashamed to admit that, once again, it moved him to tears. So if you are wondering if you need another Rachmaninov Third in your collection and on an album that lasts just 42'23", the answer is a resounding ‘yes’’ (Gramophone)

‘The textural sparseness of Weir’s setting is itself expressively emotive and beautifully rendered by the Yale Schola Cantorum under David Hill, who directed the premiere at the 2017 Proms. Hill’s shaping of the work is never more acute than in the lyrical second span, ‘Lament’, while he brings out the drama of the opening Prologue and the work’s denouement (sections 5‑6, ‘The Whirlwind’ and ‘God Speaks’) with consummate skill … Hyperion’s first-rate sound captures the ambience of Yale University’s Woolsey Hall perfectly, as well as every line and nuance of both scores’ (Gramophone)

‘[Hewitt] is nimble and witty [in K265], characterising each variation clearly but never striving for effect, and adding runs and decorations that are in the spirit of the birth of this piece as a competitive improvisation … there is introspection aplenty in the Adagio K540 and Rondo K511 that finish this lovely cycle: the Rondo dates from the time of the death of Mozart’s father, and is freighted with emotion that Hewitt recognises but doesn’t milk. This album, as with the other two, is highly enjoyable and recommended’ (TheArtsDesk.com)» More