«Vingt-sept ans après sa première lecture du Quatuor n° 15 de Schubert, le Quatuor Takács remet l'ouvrage sur le métier. À la version audacieuse et brillante gravée pour Decca en 1996, répond aujourd'hui la version de la maturité, marquée par une belle hauteur de vue: le grain et la chair sont restés, mais les couleurs se font plus automnales et les tempos plus modérés. Dès les premières secondes on admire la palette dynamique, qui souligne la versatilité des sentiments» (Classica, France)

«Les Takács abordent enfin l'ultime Quatuor n° 15 (1826) en sol majeur et en explorent l'éventail quasi infini de nuances dynamiques. Leur vision pleine de doutes, d'interrogations, se traduit par une lecture extrêmement subtile et raffinée, ou captivent la beauté des timbres, l'intériorisât ion des phrases. Dans ce jeu très engagé mais aux inflexions automnales, mélancoliques, voire désespérées, l'approfondissement rythmique a un rôle crucial. Ce « quatuor des frémissements » se colore ici de davantage d’errance, d'étrangeté, au-delà d'une transparence accrue de la texture, beaucoup plus miroitante que sous d'autres archets» (Diapason, France)

‘This has to be the best-sounding Fourth on disc—a vivid sense of acoustic and scale but with thrilling immediacy, too … having recently delivered a comparative review of the Fifth on BBC Radio 3 I am confident in saying that Mäkelä’s account would certainly have made the shortlist … the Sixth is marvellous … presumably we are getting the other symphonies? If so—auspicious and sonically outstanding’ (Gramophone)

‘What could be better than one pianist but four, as found on the evocatively titled Unplayed Stories … in 40 Fingers … all first recordings of reconstructions by perennial favourite composers such as Mendelssohn, Schubert and Liszt, as well as their lesser-known contemporary, Bohemian Ignaz Moscheles. A particular highlight is Alexander Tamir’s arrangement of Schubert’s Grosse Fantasie 'Wanderer', with duo Lev and Glixman bringing fullness to its stately, rhythmically percussive theme in the opening Allegro … this intriguing album proves the musical power and possibilities of 40 digits’ (Winnipeg Free Press, Canada)

„Esfahani [verleiht] den Bach-Miniaturen Profil, Charakter und Intensität. Er sorgt für faszinierenden Abwechslungsreichtum zwischen temperamentvollen Tanzimpulsen und betörender Sanglichkeit. Jede Phrase ist bei ihm energetisch aufgeladen. So spannend kann das Ringen um Originalklang sein. Esfahani empfiehlt sich hier erneut als begnadeter Bach-Interpret“ (Concerti, Germany)

‘Following the opening Allegro [of Op 106], in which Hamelin first introduces the opening theme with bursting energy, he then tosses off the Scherzo with crisp rhythmic precision. By contrast, his deeply felt rendition of the Adagio takes listeners into deeper, darker sonic climes, with the pianist’s elegiac rendering well-paced throughout. The finale becomes another showcase for his renowned virtuosity, as he brings to life its contrapuntal lines with fearless conviction’ (Winnipeg Free Press, Canada)

„Simon Callaghan, Pianist und Konzertmanager gleichermaßen, hat mit seinem Part keine Probleme, auch das Sinfonieorchester St. Gallen unter Midestas Pitrėnas nicht. Die Wiedergabe des gut halbstündigen Werkes ist von großer Klarheit und Transparenz“ (Klassik.com, Germany)

‘Obrecht has the right team for the job … a very convincing view’ (The Early Music Show)

‘It’s good when even a talent as extraordinary as Hamelin’s feels genuine modesty as he tackles the Hammerklavier, one of the pinnacles of the piano repertory … [it] does not displace a good many of the great versions produced by some of the outstanding pianists of the last century, but I will nevertheless return to it on a regular basis … a fascinating album’ (The Mail on Sunday)

‘On this outstanding album, pianist Mishka Rushdie Momen presents a wide-ranging program of pieces … those who just want to immerse themselves in the sound of Renaissance music rendered in the pearl-like tones of a modern piano are encouraged to simply throw themselves in. Momen is a marvelous interpreter, and she presents this music to us in a lovely, golden light’ (CD Hotlist, USA)

‘Only in her late 20s, Russian-born Aigul Akhmetshina has caused a considerable stir of late after what can only be described as a meteoric rise … now, following a much-publicised signing to Decca, we have her debut album, and a fine achievement it is … she has a superb voice, no question, warm and even in tone, admirably agile, with a full, effortless top, and a tangy lower register. Texts, meanwhile, are insightfully projected without nudging or fracturing lines, which makes for a notably impressive performance of Carmen’s Card Scene, in which subtle dynamic shading gradually exposes dark forebodings as the long chromatic phrases unwind with an almost unnerving inexorability … it all adds up to a fine recital, and a most auspicious debut’ (Gramophone)

‘Here’s an abundant harvest, one so rich in its offerings that it’s hard to know where to start. One could, perhaps, begin with Hamelin’s brilliant intricacy—what might be seen as his attempt to out-Godowsky Godowsky … and yet: despite the virtuoso dazzle, despite the historical sweep, and especially despite his sense of humor, Hamelin is far from a barn-burner, far from an intellectual show-off, and far from a mere comedian. This is music of tremendous structural skill, showing, in particular, an ability to revitalize traditional forms … it’s also music shot through with striking emotional depth … the playing, as expected, is spectacular … all in all, a clear candidate for this year’s Want List’ (Fanfare, USA)