'Prosseda suona da gran signore della tastiera quale lo conosciamo, con la cura per i dettagli, l’amore per la chiarezza, la sensibilità per il fraseggio e I contrasti dinamici di un pianista formatosi su Mozart e su Mendelssohn, e suona con un’eleganza che un po' fa parte della sua natura e che un po' viene dalla frequentazione del repertorio francese' (Musica, Italy)» More

'Ancora il Clavicembalo ben temperato? Lo so che esistono decine, forse centinaia di incisioni del primo libro dei quarantotto preludi e fughe nelle diverse tonalità, ma Mahan Esfahani sta progressivamente registrando le opere cembalistiche di Bach e lo fa con grande intelligenza musicale e lo strumento che ha usato, costruito sul modello di un Johann Henrich Harrass del 1710, ha un suono splendido sfruttato in ogni possibile sfumatura in accordo con la natura di quella che il musicista ha definito 'l’architettura drammatica del magnus opum' del compositore tedesco' (Giornale della Musica, Italy)

‘There aren’t many pianists out there who could handle these seven works, let alone with such aplomb. Marc-André Hamelin is surely the only one who could conceive of such a set in the first place’ (Avant Music News, USA)

‘Marc-André Hamelin has been such a fixture in the concert hall and recording studio that it’s easy to forget that his is a technique so complete that it becomes invisible. The combination of technical firepower and his boundless intellectual curiosity make this collection utterly compelling and there aren’t many pianists who could do that so effortlessly in this repertory. The engineering and piano sound are excellent and the informative notes are by Hamelin himself’ (International Piano)

‘Pianistic command is certainly never in doubt, as confirmed in Guido Agosti’s fearsomely intricate Firebird transcription—a volcanic reimagining that Gugnin surmounts with effortless poise. The ‘Berceuse’ unfolds with atmospheric suppleness, while the tremolos of the finale shimmer like molten gold beneath the music’s mounting exultation’ (International Piano)

„Dieses Oratorium [Uz] hört sich wie ein musikalischer Krimi an“ (Die Zeit, Germany)

‘I was transfixed this week by a Howells album called Sine nomine from professional choral ensemble Ikon and its conductor David Hill … a lovely, sensitive adaptation [of King David]; so is the title track Sine nomine ‘A Phantasy' which is a fabulously rich piece of 1920s’ Howells … this ought to be a must for Howells enthusiasts and choral fans—there are probably things here you won’t have heard. Excellent, expressive singing and a recording to match’ (BBC Record Review)

'Anche se i dischi dedicati al Clavicembalo ben temperato di Bach sono ormai numerosissimi, ogni nuova produzione giunge comunque assai gradita, soprattutto se ne è protagonista uno strumentista di valore come Mahan Esfahani, già reduce da svariate altre produzioni bachiane … in questa sua nuova proposta, con la quale il solista ha ripreso la collaborazione con la gloriosa Hyperion, sono diversi i motivi di interesse … dati i risultati conseguiti, questa nuova proposta si colloca tra le più innovative ed interessanti degli ultimi anni … tale da collocarsi ben oltre le versioni correnti' (Musica, Italy)

‘Imagine the Berlioz Symphonie fantastique’s stark raving mad finale and Liszt’s Scherzo und Marsch first paired together, then chopped to bits, and then radically reharmonised to 21st-century specifications, with more than a few hints of Carl Stalling’s Warner Brothers cartoon soundtracks tossed into the mix. That’s more or less what Hamelin’s own Hexensabbat sounds like. So who had more fun putting this delightful romp together, the composer or the pianist? Perhaps both. In short, Found Objects / Sound Objects may be Hamelin’s most uncompromising, most personal and most interesting release to date’ (Gramophone)

‘Trust pianist Marc-André Hamelin to transform a program of demanding atonal pieces into an exciting, energetic, and beautiful journey … a pianistic tour de force that only Marc-André Hamelin knows how to achieve’ (PAN M 360, Canada)

‘Herbert Howells’s Sine nomine remains one of the most sheerly intoxicating achievements from his early maturity (if you know and love, say, Vaughan Williams’s Pastoral Symphony and Flos campi, let me urge you waste no time in making its acquaintance). This remarkable work was originally scored for two wordless vocalists, chorus, organ and orchestra, and it’s to Iain Farrington’s credit that his sensitive transcription for soprano, tenor, violin, SSAATTBB and piano manages to preserve so much of this music’s visionary scope. Savour stellar contributions from soprano Hilary Cronin, tenor Ruairi Bowen, violinist Charlie Lovell-Jones and Farrington himself at the piano. An immaculately disciplined, superbly blended response, too, from the 21 singers that make up Ikon, directed by David Hill … production (Andrew Walton), annotation (Tom Edney) and presentation (Samuel Palmer’s In Shoreham Garden adorns the front cover) are beyond reproach. A delectable issue, this, showcasing Howells’s secular choral output in a fabulously confident set of performances, and absolutely not to be missed’ (Gramophone)

‘A new recording of one of the most symphonic Anglican anthems of them all [Henry Balfour Gardiner’s Evening Hymn] … such a satisfyingly expansive performance … it’s a wonderful recording as well, with the organ and acoustic of Ely Cathedral wonderfully integrated … the album’s called Let all the world in every corner sing after Kenneth Leighton’s explosion of choral joy … I love it’ (BBC Record Review)