0 The English Piano Album

'these performances can be regarded as definitive … A CD of revealing personal choices of a master pianist, and one that reveals yet more very worthy British music … Strongly recommended' -- Fanfare, USA

'Another winner from the ever-imaginative Stephen Hough. In all these pieces Hough's magic is presented in full, clear Hyperion sound' -- Gramophone Magazine

'Powerful, sympathetic and beautifully recorded, and his fans everywhere will be thrilled' -- BBC Music Magazine

'Hough's performances are magical – scintillating, refined, sensuous in the smaller works, commanding and powerful in Rawsthorne and Leighton. I hope this superb pianist records many more recitals of British music' -- American Record Guide

Detail: The English Piano Album

0 The French Album

“a substantial feast of of masterly pianism...Hough can be too coolly objective at times but in this repertoire, perhaps paradoxically, the expressive simplicity of his playing can make your eyes burn. In Clair de lune and Chaminade's once ubiquitous Automne, now rarely heard, Hough conjures up a heart-catching melancholy that put me in mind of Cherkassy. I can't offer higher praise.” --Gramophone Magazine, Awards Issue 2012

“it's a superlative performance [of Alborada del gracioso] by any standards, including repeated notes that turn me green with envy.” --BBC Music Magazine, October 2012 ***

GRAMOPHONE CHOICE
INTERNATIONAL RECORD REVIEW 'OUTSTANDING' AWARD
THE SUNDAY TIMES CLASSICAL CD OF THE WEEK
MAIL ON SUNDAY CLASSICAL CD OF THE WEEK

'Once again, Stephen Hough's consummate artistry extends to inspirational programme building … The Fauré group is ravishingly contrasted, with a fluency and limpid style supported by all the necessary backbone and sense of direction to make the composer's tortuous harmonic twists sound as natural as speech … Chez Poulenc, the constantly shifting balance of melody, countermelody and accompaniment is defined by subtlety of dynamic shading, deft pedal work and brushstroke rubato … Even by Hough standards the whole enterprise is a tour-de-force and easily the most satisfying disc of piano music I've encountered so far this year' --International Record Review

'It is a stroke of genius to end with the Liszt/Halévy Réminiscences de 'La juive'. Hough makes this Fantaisie brilliante a true tour-de-force … A terrific disc' --International Piano Magazine

Detail: The French Album

0 Baroque Conversations

“Greilsammer assembles four 'mini-sets', each containing three works. The first and third pieces are by Baroque keyboard composers, while the second is by a late-20th- or earl 21st-century composer...Usually such programming ideas seem pretentious or sound forced but Greilsammer's stylistic juxtapositions mostly work...In all, a stimulating, outstandingly executed and superbly engineered programme.” --Gramophone Magazine, May 2012

“The pianism is superb” Michael Church, The Independent

“However it may look on paper, in practice it works incredibly well, such is Greilsammer’s magnetic ability to find mutual correspondences and attractions between opposite poles” Julian Haylock, International Piano

Detail: Baroque Conversations

0 Devil's Dance

There's some first rate music-making in this eclectic collection, including excellent performances of Sarasate's Concert Fantasy on Gounod's Faust, Korngold's Caprice Fantastique, Bolcom's Graceful Ghost Rag, Bazzini's La Ronde des Lutins, and the obligatory (for any "ghosts and goblins" violin compilation) Tartini "Devil's Trill" Sonata. Other pieces tend to resist being transcribed for violin and piano. Saint-Saëns' Danse Macabre sounds a pale shadow of its real self absent the composer's colorful orchestration; nor is John Williams' Devil's Dance (from his film score for The Witches of Eastwick) one of his stronger inspirations, at least in this arrangement.

It is fun, though, to have John Morris' title theme from Young Frankenstein making an appearance as A Transylvanian Lullabye, and while I understand violinist Gil Shaham's decision to play the music more or less straight, a little additional schlock turns the piece from sweet to hilarious. It is, after all, a parody. But these are quibbles. Collections like this, cleverly put together and very finely executed, basically sell themselves. If you like the concept and the repertoire on offer, there's no reason that you won't enjoy this disc. --David Hurwitz, ClassicsToday.com [10/31/2001]

Detail: Devil's Dance

0 Lugano Concertos 2002 - 2010

“Few artists being such unfettered joy to their music-making as Argerich, and few combine such artless spontaneity, technical brilliance and searching insights. These are qualitites that shine through this marvellous new set...Even collectors who have Argerich playing most of these works already are likely to be as thrilled and elated as I have been listening to this extraordinary anthology” --International Record Review, December 2012

“it's a supercharged, witty performance [of the Poulenc] from 2007; Argerich's lacerating runs in the first movement are worth the price of the set alone...[Scaramouche is] a final helping of joyous, free-wheeling music-making.” --The Guardian, 22nd November 2012 ****

“[Argerich] combines a colossal technique with powerfully instinctive musicianship and electrifying energy. This exciting release is an ideal present.” --New York Times, 23rd November 2012

Detail: Lugano Concertos 2002 - 2010