Liszt: Valse oubliée No. 1 in F sharp, S.215

“This richly varied recital shows Liszt in many guises: as religious visionary, prophet, lyricist and epic teller of tales. And Lilya Zilberstein, an imperious virtuoso to say the least, is fully equal to the many and various challenges. Her all-Russian command can be properly engulfing in the rhetorical storms of the Fantasia and Fugue on the name B-A-C-H , particularly when, as John Ogdon so aptly put it, the music appears capable of carrying the very heavens on its back” Gramophone Magazine

“Though labelled as "Stephen Hough in recital", this is in fact a studio-made recording, though based on a recital that Hough toured in the first half of last year. It is a typically thoughtful piece of programme building, which Hough describes as "two highly contrasting mini-recitals". Works dominated by variation form - the Mendelssohn, the Beethoven sonata - are set again a collection of pieces built around the waltz, beginning with Weber and ending with Liszt's Valse Oubliée No 1 and first Mephisto Waltz, as well as an arrangement of Hough's own, and taking in examples by Chopin, Saint-Saëns, Chabrier and Debussy en route. The selection of works highlights different aspects of Hough's own versatile pianism, too. His clear-sighted path through both the Mendelssohn and Beethoven, every detail perfectly placed, belies the charm he brings to the bravura glitter of the Weber, the subtle ambiguities of Debussy's La Plus que Lente, and the more insidious allure of the Liszt. It's a beautifully accomplished sequence.” The Guardian, 6th March 2009 ****

“The Mendelssohn Variations come over as truly 'sérieuses', on a par with anything by his friend Schumann, thanks to Hough's vivid characterisation and dramatic flair. And if the 'Arietta' of the Beethoven Sonata does not quite reach this level, it is partly because an over-brightness in the treble lends a somewhat strenuous edge to some of the loudest passages. But Hough's control of the different stands is little short of miraculous.” BBC Music Magazine, April 2009 ****

“…(what magically hushed pianissimos) and masterly pedalling… each element adjusted to each composer yet all unmistakably Stephen Hough - vintage Hough at that, for here is a pianist at the height of his powers. The "second half" is devoted to waltz time, beginning with Weber's pioneering Invitation (1819)... Hough's is the finest performance I have ever heard... exuberant, seductive and scintillating by turns with the repeats (all are given) subtly varied second time round. A great piano recording and front runner for instrumental disc of the year.” Gramophone Magazine, May 2009

“Horowitz’s late recordings of Schumann for Deutsche Grammophon give the lie to the myth of Horowitz the soulless pyrotechnician...This Kreisleriana delves deep into the dark recesses of the soul” Sunday Times, 3rd January 2010