‘With singing of such distinction as we encounter here, even the more obscure songs come to life, and Graham Johnson’s accompaniments further heighten the listening experience … if I add that reading Graham’s all-embracing notes on each of the songs further enhances the value of this issue, there is no need for me to apologize for the Recommended tag’ (MusicWeb International)

‘Brahms referred to the three Op 117 Intermezzos as 'the cradle songs of my grief' and they form the backbone of this collection. Hough plays them lovingly and reflectively, with never a hint of false emotion. There is more muscle to be found in the 10 Op 116 Fantasias, especially in the agitated Capriccios, and the triumphant Rhapsodie which closes the Klavierstücke Op 18 set and this disc, and here Hough finds the right level of emotion and never overcooks the material … Hough guides us through this final chapter of piano works with an unerring sense of taste’ (Limelight, Australia)» More

‘All in all, this Hyperion release is classy and distinctive: three hours spent in the company of great music and musicians seems like no time at all’ (colinscolumn.com)» More

‘Barry really seems to capture the stubborn defiance of Beethoven's character—a certain detachment and lack of empathy as well—alongside frustration and anger, and it wouldn't be Gerald Barry without a hint of humour … his setting of Beethoven's unsent letter to his 'Immortal Beloved' managing that Gerald Barry trick of irreverence mixed with serious musical purpose’ (BBC Record Review)

‘From the opening bars of the First Concerto I was captivated: there's an attractive bounce and suppleness to the playing of the Finnish Radio Symphony Orchestra, a sense of air and openness to the recording as well. Tempos not too hard pushed by conductor Hannu Lintu, but there's a crisp immediacy to the articulation. The first concertos seem to reach back to the Mozartian models Beethoven admired—essential simplicity to the slow movements [with] effortlessly spun lines and long phrases from Hough that match the orchestral playing … one of the things that struck me here [in the first movement of No 5] as much as anywhere was the perfect poise of Hough's quieter playing—he's frequently less dynamically forceful than other pianists. Call it a thoughtful approach if you like but it's better than that, fully thought through and memorably realized … if you liked the poise and nobility of the opening then I suspect you'll appreciate the gently flowing poetry of the slow movement before the outburst of joy in the finale … my Record of the Week’ (BBC Record Review)» More

‘Has British choral singing ever been as rich as now? Among other must-have new releases: the ace De Profundis (conductor Eamonn Dougan) singing Spanish Renaissance music by Juan Esquivel … support these wonderful vocal ensembles if you can’ (The Guardian)

‘Has British choral singing ever been as rich as now? Among other must-have new releases: … the Gesualdo Six (director Owain Park) exploring early and contemporary music in their stunning album Fading … support these wonderful vocal ensembles if you can’ (The Guardian)

‘A really well-played recording of chamber music by Clara Schumann and Fanny Mendelssohn … a beautifully balanced performance [of the Schumann Piano Trio] from members of The Nash Ensemble … alongside equally enjoyable accounts of Fanny Mendelssohn's D minor Trio and her String Quartet’ (BBC Record Review)

‘Wonderful, almost miraculous … there isn’t a colour, weight of attack or nuance of phrasing or rhythm that passes [Hough] by’ (The Times)» More

‘Master accompanist Graham Johnson's ongoing exploration of the piano-accompanied songs of Brahms is a godsend. You may think the same thing about sweet-voiced Irish tenor Robin Tritschler once you've heard his deeply felt, sensitive treatment of the opening song … in the songs that show him at his best on this perfectly balanced recording, Tritschler is a gift’ (Stereophile)

‘The mood is predominantly reflective, gently folkish and naive throughout, which proves a good match for Tritschler’s youthful, firm tenor and bright, straightforward interpretations. He captures beautifully the artlessness of the early ‘Mondnacht’ and the urgency of ‘In der Fremde’ … he's superb in the folk songs themselves, as well as such irresistible folky numbers as ‘Sonntag’ … with the usual high-quality documentation and engineering, this is an excellent addition to this series, and one that amply demonstrates what a superb Lieder singer Tritschler is’ (Gramophone)

‘De Profundis are an ensemble I admire … they certainly fulfil their brief here: low, bold and more demonstrative than many of the English ensembles who also explore Iberian polyphony, their sound is rich … and anchored by the attractive grain of the bajón played by Nicholas Perry. From Hyperion’s point of view the sound is superb: warm and gently resonant … an extremely enjoyable and atmospheric recording’ (Gramophone)