‘Surpassing every one of Rzewski's technical challenges, giving an electrifying performance, the Canadian made this recording in 1998 and it is still a benchmark … all is heard in fantastic recorded sound—you're in the room with the bright-toned instrument, marvelling at its tuning at the outer edges of the keyboard’ (BBC Music Magazine)

‘This album of Russian ballet transcriptions sparkles like a glass bauble hanging amidst the fairy lights … Andrey Gugnin is an ideal interpreter, a performer of agility and perceptiveness … it's the sheer beauty of his playing in the gorgeous Intermezzo and Andante maestoso that makes this special … Gugnin is dazzlingly virtuosic—it must be quite a thing to hear these pieces in concert’ (BBC Music Magazine)

‘Andrey Gugnin has a dazzling technique and brings off these challenging works superbly well … pianists who play Stravinsky’s piano works often include the Firebird transcription but Gugnin is as good as or better than most of them. If the programme attracts, there is no need to hesitate’ (MusicWeb International)» More

‘The rapport and balance between Isserlis and Shih are crucial in making this album such a delightful listen throughout … wonderfully lyrical playing from Isserlis … his enduring love of Schumann's music shines through every bar. Warmly recommended’ (Gramophone)

«Une fois de plus, Roberto Prosseda et le London Philharmonic Orchestra s'y engagent avec sincérité, à l'image de l'ensemble des œuvres défendues dans ce disque passionnant» (ResMusica.com, France)» More

‘In less talented hands, this collection of sometimes-difficult atonal works—including John Cage's percussive, other-worldly The perilous night for prepared piano—might be a difficult listen. But Marc-André Hamelin's rounded yet articulated pianism is a joy—and his sense of rhythmic energy propels forward a beautifully balanced programme that unfurls like the chapters of an addictive story. His own Hexensabbat provides a swirlingly bravura conclusion’ (BBC Music Magazine)

'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)

‘Just as I thought I could no longer be surprised by Marc-André Hamelin’s choice of repertoire, along comes this thrilling collage, mixing the apparently unmixable, from Frank Zappa and John Cage to Hamelin’s own terrifyingly virtuosic Hexensabbat. The upshot is a musical mosaic as colourful, exciting and witty as it is moving’ (Gramophone)

‘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)