‘These superbly realised readings make a compelling case both for Uchida’s artistry and for their reverential view of late Beethoven … it’s hard to imagine a lover of this music who won’t be rewarded by hearing this release, especially with Decca’s rich engineering’ (Gramophone)

‘A wonderful achievement, beautifully recorded and most strongly recommended’ (Gramophone)

‘The world is full of musical juvenilia, and we’re not short of unperformed operas, either. But this feels different and special … it really is worth getting to know … imaginative opera festivals will be snapping this recording up with a view to a premiere staging, though they’d be hard-pressed to top Decca’s cast and conductor’ (Gramophone)

‘The early songs of Gustav Mahler aren’t under-realised, under-cooked or under anything – at least as presented in this collection … Middleton is the go-to source for this music’ (Gramophone)

‘A very welcome album of major orchestral works … no praise can be too high for these splendid performances, detailed notes by our own Guy Rickards and top-notch production by Andrew Keener. A winner!’ (Gramophone)

‘A sparkling account of the great Weber Quintet’ (Gramophone)

‘If you love a Cambridge river-concert but don’t fancy the tourists or the faff, then this is the next best thing’ (Gramophone)

‘From the tinkling registral changes in the Allegro ma non tanto of the Concerto in A major, BWV1055, to his tantalisingly paced cadenza in the opening movement of the Concerto in D minor, BWV1052—and the ensuing fabulousness of his trill—Esfahani exhibits a mastery of large-scale swing and fastidiously shaped, expressive detail. There’s something utterly enjoyable about the squeeze achieved by Esfahani’s pacing and legato of the central Siciliano of the Concerto in E major, BWV1053. Then there’s the frenetic joy of the closing movement of the Concerto in D major, BWV1054; Esfahani transforms into a slot machine spilling over in jackpot celebration. Yet Esfahani is at his swirling, angsty best in the concerto’s opening movement: the current of energy (beginning in the section at 2'08") remains undeterred all the way to the recapitulation and its crashing octaves’ (Gramophone)

‘As was the case with Gerhardt’s performances of the Shostakovich concertos, his well-nigh flawless solo playing is closely observed … the generous old-school annotations are a definite plus’ (Gramophone)

‘The present premiere recording [De profundis] reveals a substantial 24-minute canvas of blazing eloquence, unfailing craftsmanship and communicative power … I can report that David Temple obtains outstandingly dedicated results from everyone involved, with soprano Sophie Bevan soaring thrillingly to her climactic top B in the refulgent closing pages. Mike Hatch’s sound, too, possesses striking definition, richness and depth … an irresistible proposition’ (Gramophone)

‘Musicians are big on postcards … but none are as beautifully written as those by Stephen Hough, a reliable scribe wherever he is in the world … a joy to receive through the letterbox’ (Gramophone)

‘Musical magic … but the biggest surprise is kept for the final piece. The hilarious Five More Minutes (Sardine Armpit) sees percussionist Joby Burgess, Arcappellago and The Sardine Ensemble deliver a crazy Balkan-dance-like number possessing all the Dionysian grit and flair of Rosalía and Björk’s performance of ‘Berghain’ at this year’s BRIT Awards’ (Gramophone)