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Hill places the new work within an exceptionally well-crafted recital in which Messiaen's music is a recurrent thread in a span of resonances, influences and affinities...Whether in Dutilleux... — BBC Music Magazine, December 2014, 5 out of 5 stars More…

Frith and Hill balance the virtuosity with explosive melodies…both have the necessary dexterity to chase notes and fingers – the overlapping twists and turns of ‘Slava’ demand a balletic performance…The... — BBC Music Magazine, November 2017, 4 out of 5 stars More…

Hill establishes his voice from the outset with fluid, velvet-toned playing and a predominantly introspective, rather than showy approach...In short, these are exquisitely poetic and, above all,... — BBC Music Magazine, September 2013, 5 out of 5 stars More…

He addresses that Everest on the landscape of Bach’s keyboard writing, and with characteristically unshowy yet compelling results. He’s up against stiff opposition of course…But there’s an honesty... — BBC Music Magazine, June 2018, 4 out of 5 stars More…

Hill's technique is impressive, but he eschews flamboyant showmanship, bringing instead humility, poise and gravitas to these accounts. Tempos are thoughtfully judged and tend to underscore the... — BBC Music Magazine, May 2012, 5 out of 5 stars More…

Peter Hill never underestimates [the] challenge, and there's a confiding wisdom sustaining his latest Bachian foray. Trademark unshowy integrity, too, articulated through a silky translucent... — BBC Music Magazine, February 2016, 4 out of 5 stars More…

Messrs Hill and Frith have done us a service: now let’s see what other pianists make of this fascinating work [the Grosse Fuge]. — BBC Music Magazine, April 2020, 4 out of 5 stars More…