In recital

��(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, May 2009

�The Mendelssohn Variations come over as truly 's�rieuses', 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.� --Music Magazine, April 2009 ****

�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 Oubli�e No 1 and first Mephisto Waltz, as well as an arrangement of Hough's own, and taking in examples by Chopin, Saint-Sa�ns, 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 ****