‘Hamelin’s Hammerklavier is far from neutral: you’ve never heard it the way you do here—nor have you heard as much of it as you do in this performance. Simply put, Hamelin uses rhythmic resilience (listen to the snap of the dotted figures in the Scherzo), subtly varied articulation and artfully judged voicing to bring everything sharply into focus. But he does so without Schnabel’s strain (note Hamelin’s facility in the treacherous innervoice trills) and without Pollini’s severity, offering instead a freshness that few can summon in such familiar music. Combine that focus with his unfailing sense of rhetoric, and what emerges is a remarkable synthesis of eventfulness and coherence … a major release’ (International Piano)

‘Delectable … flourishes and fireworks, an imposing cadenza, Viennese waltzes, calorie-rich twists and turns, contortions suggesting Korngold or Richard Strauss: they all find a place in this 20-minute creation, performed with shiny panache by its creator and the Hallé orchestra conducted by Mark Elder. Other musical worlds visited include Copland-style Americana and a little cool jazz, whipped into the mix by a composer-pianist with a magpie mind and a mischievous grin’ (The Times)

‘In complete contrast with his pellucid Ravel and the Parisian chic of his Poulenc, Thibaudet thunders up and down the keyboard with fine authority, embroidering the melodies with fantastic arabesques to showcase the facility of finger work and the cadenzas as sonorous climaxes with impressive energy. The LA Philharmonic, also somewhat out of its normal comfort zone, one imagines, responds brilliantly’ (Limelight, Australia)

‘It’s a heady mix, triumphantly executed. We’re presented with a rich set of evocations, which seem to flash by (the whole piece is just over twenty minutes in length). The cleverness and invention in the writing is evident but unshowy and crucially Hough somehow manages his Proustian tugs on our real or imagined memories without serving up layers of pastiche … ee has fine collaborators in Mark Elder and the Hallé, the dialogue between orchestra and piano in the middle section variations in particular being a real delight. With a fair wind, I think this could become the popular work it deserves to be. There are performances coming up in the UK, the USA and Australia in the next few months, so it seems well set … I’ve listened to little else all week’ (MusicWeb International)

‘This recording demonstrates that age truly is just a number, and no barrier to probing, revelatory perspectives … the sound production throughout is impeccable: you can almost visualise the positioning of the players and the notes sailing upwards and hovering in languid circles above them. Musical lines pass in a single, continuous breath from one instrument to the next, and the sensual, dreamlike soundscapes are tinged with immaculately drawn moments of both despair and joy. An alluring and, in time, vintage recording’ (BBC Music Magazine)» More

«Après plusieurs collaborations chez Hyperion qui ont fait date (Brahms, Ravel, Szymanowski … ), le pianiste Cédric Tiberghien retrouve sa complice en duo, la violoniste Alina Ibragimova, pour un CD qui s’inscrit dans les sommets de la discographie de ces diamants noirs de la musique de chambre. Admirable alchimie des timbres, poésie d’un crépuscule souverain, beauté des mouvements lents. Un plaidoyer réussi pour ces sonates assez rares» (24 heures, Switzerland)

‘There is not a beat missed between the players, but even more laudable is the matching energy: all forces give their all to the music, and while it can be cacophonous and a bit crazy, the performance is ultimately very convincing … I found this to be a very nice curation of Khachaturian’s works, both big and small, with performances that match the thoughtfulness of the programming. A most enjoyable listen’ (The Classic Review)

‘This stimulating program is the brainchild of Italian pianist Roberto Prosseda who proves himself master of all four works, his playing thoroughly idiomatic whether embracing 1900s late-Romanticism, mid-century impressionism or more contemporary fare. With sparkling technique and deploying an appealingly light touch, he’s aided throughout by Kabaretti who ensures each piece has plenty of room to breathe while drawing out a wide range of colours from the splendid London Philharmonic Orchestra. The Dallapiccola in particular is most magically done, but all of these works repay repeated listening and the engineered balance between piano and orchestra is spot on’ (Limelight, Australia)» More

‘Beautifully and eloquently sung—there is nowhere to hide with this few voices—and a good starting point for the music of Machaut … the solo voice songs … are pure melody and utterly gorgeous … these solo numbers in particular speak across the centuries, but the pacing and sequencing of the album is great, making what should be a bit intimidating—an entire disc of just four voices—into a real treat’ (TheArtsDesk.com)» More

„Ich gebe zu, ich bin voreingenommen. Ein Fan“ (Deutschlandfunk Kultur, Germany)» More

‘In the case of Schumann’s first sonata it really didn’t take long for me to fall under the spell of the portentous melancholy of its first movement’s serpentine opening theme, Ibragimova’s violin releasing a shimmering liquidity which is so apt for the strangeness of the material. This is ideally balanced by Tiberghien’s fluid, flexible contribution, oscillating seamlessly between reticence and urgency … the slow movement [of No 2] could not be projected more tenderly—the restraint is both affecting and perfectly judged. Frankly I don’t think I have ever heard this delightful panel played with more grace. Nor is the contrast with the rolling and rising agitation of the finale excessively overwhelming, indeed the playing teases out the subtle, unpredictable modulations at the movement’s core. Ibragimova and Tiberghien’s account of a work which can frequently seem sprawling is outstanding; judiciously measured, beautifully shaded and utterly convincing … Andrew Keener’s production is a model of lucidity, notwithstanding the opacity of certain elements of Schumann’s design. Laura Tunbridge’s splendid note is effortlessly entertaining and musicologically helpful … neither aficionados of late Schumann nor newcomers to its unique allure need hesitate’ (MusicWeb International)

‘In every respect, these are stronger readings than [The Nash Ensemble's earlier] Virgin Classics outing, not least due to the splendid recording in All Saints’ Church, East Finchley, a favoured Hyperion venue, produced by Andrew Keener. The sound is fuller and richer, the microphone placement closer, capturing more detail … I enjoy Gonley’s impetuosity in her finale and Brendel’s introspective brooding. Davies, Power and Wakeford are wonderfully animated in their sonata … aptly, Debussy’s Faune opens Hyperion’s programme in an exquisite arrangement by David Walter for wind quintet, string quartet, double bass, harp and crotales, which loses little from Debussy’s heady orchestral score … Debussy’s sole String Quartet ends the disc … the Nash’s fleet-footed reading is enormously enjoyable, as is this entire disc’ (Gramophone)