"Lortie's playing is very personal, his presentation scrupulously thought-out, his intelligence unmistakable, but he is not, as a performer, conspicuously intellectual. His playing is characterised by great warmth and lyricism, his virtuosity is formidable but unflaunted, his individuality communicative but never distractingly idiosyncratic. As an interpreter he is highly discriminating, playing no two pieces in quite the same way... This is Chopin playing of a high order.” (International Record Review)

"Stott and the Heritage Trio imbue the hushed sections with a sense of eerie menace, refusing to smooth the edges, which is certainly not to say they are rough and ready elsewhere ... the exquisite account by Stott of the fourth Nocturne is the icing on the cake. (...) Kathryn Stott reinforces her position as one of the finest Fauré interpreters of her generation." (BBC Music Magazine)

Jazz Icons: Duke Ellington features the earliest-known filmed full-length concert by one of the 20th Century's greatest songwriters and bandleaders. Filmed at Amsterdam's famed Concertgebouw, this 80-minute concert features the 16-piece Duke Ellington Orchestra two years after their stunning performance at the 1956 Newport Jazz Festival,which Duke considered his second birth. This epic performance includes legendary players Clark Terry, Johnny Hodges, Harry Carney, Paul Gonsalves, Quentin Jackson and Ray Nance performing some of the most beloved American music ever written.

"Gubaidulina's music is frequently puzzling but almost always rewarding, and she has found an excellent, eloquent spokesman in Popov. Although it's somewhat off the beaten path, I can recommend this CD to anyone interested in her music, to bassoon-fanciers, or to anyone with a liking for new sounds and ideas in music. Very entertaining!" (Classical.Net)

"…It is the quartets that I have grown to enjoy so much. I must give a lot of credit to the superlative performances here. (...) The recorded sound is excellent, as is the entire production. Again and again I have returned to it over the past month and enjoyed every aspect of the performances…" (American Record Guide)

"This is a stunning CD. Never before have I heard such fantastic performances of Rameau from an English group. The undoubted star of the show is former choirboy-soundalike Carolyn Sampson, whose voice has (seemingly) been gradually developing velvety tones over the past year or so, and here is showcased in all its spectacular radiance in selections from seven of Rameau's stage works … Don't miss this!" (Early Music Review)

"Entertaining works from an individual voice given appropriately witty accounts … So this is a piece of patchwork, scarcely justifying Buschmann's claim that it can stand beside the concertos of Spohr and Weber, though it is shot through with flashes of entertaining music." (Gramophone)

"Osborne exults in Britten's dazzlingly pianistic writing, and we get to hear the original 1938 version of the concerto's third movement, a dazzlingly beautiful Recitative and Aria … A thrilling disc." (Sunday Times)

"More than ably partnered by Philip Fisher, Geoghegan is a spirited advocate of these gems. Her beautiful account of Jancourt’s Nocturne typifies her combination of natural musicality and exquisite tone, while her vivacious approach to Pierné’s Solo de concert and Bitsch’s Concertino underline why, at 19, she is already a marvellous ambassador for the bassoon." (BBC Music Magazine)

"Calum MacDonald’s notes are absolutely ideal, neatly drawing together all the various threads, and the quality of the Chandos recording can’t be faulted. Truly ‘one of Britain’s most versatile and imaginative musicians’, Stott crowns an astonishing array of recent releases… with this highly imaginative programme. This is a must for all pianists and lovers of dance." (International Record Review)

"The Schoenberg Quartet certainly has conviction coupled with taste; its musical choices are consistently intelligent, and the repertoire suits the players perfectly. Accompanied by the quartet, soprano Susan Narucki, one of new music's greatest stars, is ravishing in the elegiac Maiblumen blühten überall, a setting of a poem by Richard Dehmel (the author who wrote the poem Verklärte Nacht, later to be immortalized by Schoenberg). Closely recorded instruments bring the nuances to life. If fin de siecle Vienna is at all your bag, this set is a must." (ClassicsToday)

"Kathryn Stott does herself proud in this music, and while we might wish for a bit more steel in her tone in the two finales, she takes on some pretty hair-raising tempos and emerges triumphantly. Although Kabalevsky wasn't a major talent, he certainly was talented and his music doesn't deserve the obscurity in which it currently languishes. This disc goes a long way to making a strong case for him." (ClassicsToday)

"The performances are highly sympathetic, with the right mix of rhythmic stability and rubato to strengthen the formal structure. The recording has an excellent dynamic range, with cpo's customary clarity." (American Record Guide) -- "Strongly recommended to those with a taste for chamber music of the unrepentantly post-Romantic kind." (Fanfare)

Neither the Michael Haydn Concertino nor the Stamitz Concerto is otherwise currently available on disc. Both are delightful, the first effectively a lyrical concerto slow movement, the second full of characteristic Mannheim energy, bold statements, bustling inner strings, soaring first violins. The Weber Concerto, Op. 75, which ends the disc is heard, literally, as never before – in Perkins’s own new edition. It reveals many hitherto hidden details and nuances, helped by finely incisive string-playing cutting through the expanded orchestral forces – full wind, trumpets and timpani. The virtuoso solo moments are dazzling. Hyperion’s perceptive talent-spotting has produced a charming disc from performers virtually new to the catalogue – unreservedly commended. (BBC Music Magazine)

This is beautiful music beautifully played. A concentrated and penetrating collection of German cantatas from the high Baroque, it should be snapped up without reservation by anyone with even the slightest interest in the origins and development of northern European sacred music. The playing, direction and singing are uniformly clear, vibrant, balanced and highly communicative. (...) This is a CD to treasure. (Musicweb International)