Hyperion

Sian Edwards adopts relaxed speeds [in the Strauss], which gives the music space to breathe, and the RSNO sound consistently good throughout. Watts does ravishing things with the great clarinet... — Gramophone Magazine, September 2018 More…

…in vivacious movements… the sheer verve of the playing is irresistible. The dancelike sections of the Third Sonata's finale make a similar impression and its 'big' tune is wonderfully well... — Gramophone Magazine, September 2006 More…

showcases some wonderful polyphony, full of vim and contrapuntal delight. Lovely moments and elegant phrasing… — Choir & Organ, May 2017 More…

Johnson is alive to every juicy nuance of the richly detailed accompaniments. And although I was occasionally distracted by Appl’s closed vowels, which sometimes robbed the poetry of its immediacy,... — BBC Music Magazine, May 2018, 4 out of 5 stars More…

With just one voice to a part, polyphonic lines are sharply etched and perfectly weighed throughout…an all-male ensemble, their sound is robust and plangent. — BBC Music Magazine, September 2015 More…

The Pacifica Quartet have more chance to show their mettle in the less extravagant Second String Quartet…both pieces are excellent examples of how far a composer can go on intuition, energy and... — Gramophone Magazine, September 2015 More…

Ohlsson's performances throughout are a judicious blend of absolute technical security and fantasy, giving especially appealing treatment to the simple melodies that emerge occasionally from... — BBC Music Magazine, August 2013, 5 out of 5 stars More…

the E flat Sonata opens with arresting gestures designed to let the performers show off, which Tanja Becker-Bender and Peter Nagy seize with relish. They give generally spacious readings of all... — BBC Music Magazine, April 2014, 4 out of 5 stars More…