‘Early Schubert has gained in esteem with modern listeners, and the beauty of this quartet [D112] is easy to appreciate. The Takács’s mellow elegance suits the music very well. One could hardly ask for better’ (Fanfare, USA)

‘Multi-pianist discs are few and far between, the visual impact of many hands making light work of (usually) arrangements of orchestral works being more compelling than hearing them on a recording. In fact, only two of the four works here feature more than 20 fingers but the programme is never less than fascinating, containing as it does four first recordings, the most significant being the first item, Fantasie and Variations on a Theme by Weber … an entertaining work of sophisticated frivolity and bound to become standard two-piano repertoire … I have not said anything about the four pianists who call themselves, a tad prosaically, MultiPiano Ensemble, nor about Ivor Bolton and his Berlin players. They are terrific, a joy to hear, extremely well recorded—and I hope they return to give us more of the multi-piano/pianist repertoire with and without orchestra’ (Gramophone)

„Für alle, die noch diskografische Lücken schließen möchten, ist diese Aufnahme eine Fundgrube … Die Aufnahme ist so kurzweilig, wie die Zusammenstellung vermuten lässt—auch weil Bolton die Fäden klug bündelt, Dramatisches aufraut, Lyrisches aussingen lässt und vor allem, weil er die Solisten mit dem Orchester nie zudeckt“ (Fono Forum, Germany)» More

‘Hamelin marshals his considerable skills for a reading of the Hammerklavier that clarifies and illuminates rather than simply overpowers. Key to this achievement are a lighter touch and precise articulation that put some spring into Beethoven’s dense chords in the opening movement … his way with the great Adagio seems near-perfect, mesmerizing but always with a quiet sense of forward motion. As for the legendarily taxing fugue in the finale, once thought to be unplayable, he makes it sound improbably pianistic’ (The New York Times)

‘British cellist Steven Isserlis lovingly addresses the diversely elegant art of Luigi Boccherini (1743-1805) whose chamber music and cello concertos reflect his long tenure in Spain … exquisitely delicate and charming, this music dances on the strings of both the heart and the imagination’ (Audiophile Audition, USA)» More

‘This immensely enjoyable album masterminded by the Israeli pianist Tomer Lev features his dazzling Multipiano Ensemble in pieces for four and eight hands, with and without orchestra … the version [of the 'Wanderer' Fantasy] with two pianos recorded here was made by Alexander Tamir for his well-known Eden & Tamir duo. It keeps Liszt’s orchestral score intact, but redistributes the piano part to make it less Lisztian, and more Schubertian. Ivor Bolton and the Berlin Radio Symphony Orchestra offer skilful support … finally, the 19th-century pianist Ernst Pauer’s arrangements of two of Schubert’s duet marches add octaves all over the place without actually enhancing the originals in any way, but the music itself, and especially the Viennese lilt of its trio sections, remains irresistible’ (BBC Music Magazine)

‘There is much to enjoy in this new Isserlis release devoted entirely to Boccherini … the quintet tracks are personal preferences’ (The Rehearsal Studio, USA)

„Durchweg brillant  … äußerst engagiert … hier und da erstaunlich neobarock … unterhaltsam … durchaus frech à la Erik Satie“ (Rondo, Germany)» More

‘This gigantic and powerful work … might have been custom-built for Marc-André Hamelin, the Canadian pianist with a particular flair for the grandiose, eccentric, or otherwise out of the ordinary … there is nothing in Hamelin’s latest Hyperion album (there are 89 others) to break the rule of thumb where this splendid artist is concerned: when Hamelin plays, you stop and listen’ (The Times)

‘Hamelin a mix of flamboyance and poise, keyboard scorched, music lucid … all very fine’ (colinscolumn.com)» More

‘It’s no surprise that excerpts from Carmen kick things off, and one understands quickly just why she's so in demand as Bizet’s fierce heroine. The full, wine-dark quality of her instrument is immediately appealing; there’s an evenness and comfort across the voice’s entire range; and a self-assurance and poise that underpins every phrase. Akhmetshina is a calculating, restrained Carmen, appealing with undercurrents of danger … her ability to seamlessly traverse the very different roles on this recording puts you in mind of early Shirley Verrett or Agnes Baltsa, but that sumptuousness of tone is all her own. A Bashkir folk song is a lovely, moving conclusion to this most successful debut recording, which heralds a generational talent’ (Limelight, Australia)

„Hamelin wählt klassisch ausgewogene Tempi für alle Sätze, etwas schneller als Brendel oder Gilels, aber keineswegs halsbrecherisch. Alles klingt präzise, rhythmisch ausgewogen und transparent, ohne exzessive Agogik“ (Rondo, Germany)