‘The ensemble’s sound is clean and ingenuous throughout: boyish sopranos and altos are balanced by fresh-voiced tenors and basses, intonation is nigh flawless, the recording limpid. Stephen Rice and his singers subtly capture the emotional and spiritual gamut of these works … Rice’s detailed liner notes, which include a summary of the scholarly debates surrounding the spurious works, wrap up this treasurable anniversary disc’ (BBC Music Magazine)» More

‘There is some wonderful music here. I’ve been a fan of the Brabant Ensemble for some time and can confidently say that this is one of their most outstanding recordings’ (MusicWeb International)» More

‘A commendable disc performed with flair which offers a fitting soundtrack to these disorientating times’ (BBC Music Magazine)

‘The sequence works well as a recital-like experience, and also as a vehicle for Hough’s comprehensive mastery of his art … his playing impressively mirrors the immensity both of Bach’s conception and of Busoni’s tumultuous pianistic response. He brings the same monumental approach to the huge column-like pillars of sonority of Funérailles, following this with a super-virtuoso delivery of Liszt’s Bagatelle sans tonalité’ (BBC Music Magazine)» More

‘It would be hard to find a more highly committed advocate for this music than Howard Shelley who masters all the considerable technical challenges of these works with consummate ease, and the Tasmanian Symphony Orchestra offers sturdy and reliable support throughout’ (BBC Music Magazine)» More

‘Hough’s selections include Chopin’s piano sonata featuring the funeral march (given a particularly taut rendering) … gloomy thoughts can never win when Hough’s touch is so penetrating and sensitive; when the programme includes the colourful swirls of Busoni’s Carmen fantasy after Bizet and his imposing transformation of Bach’s solo violin chaconne; when the acoustic is warmed by resonance; and when the lively booklet cover depicts the back of Hough’s head, seemingly ready for a smart day on the beach’ (The Times)

‘The performances of this glorious music—and there is so much more that could be said about it—are in general extremely rewarding … the playing is technically of a high order and the excellent balance also adds to the pleasures of a set that will delight anyone collecting a complete cycle now nearing completion’ (Early Music Review)

‘There is something for every pianophile here’ (The Sunday Times)» More

‘Performances of Machaut which are as good as any of us might ever have expected to encounter’ (MusicWeb International)» More

‘This is a very fine disc indeed. By now we’ve come to take for granted that any recording by the Choir of Trinity College, Cambridge will feature singing of the highest quality; that’s emphatically the case here. It must be an extraordinarily stimulating experience to be a member of this choir because not only does Stephen Layton demand and obtain the highest possible standards but also, he continually presents his young singers with the rewarding challenge of expanding their repertoire horizons, as he has done with this programme … the sessions were safely in the experienced hands of engineer David Hinitt and producer Adrian Peacock. They work regularly with this choir and this venue; it shows. The recording of all the pieces is first rate. The production also benefits from excellent booklet notes by Francis Pott. It’s very illuminating to read the insights of one distinguished composer of choral works into the music of another. I’m delighted that I’ve made the acquaintance of the music of Jaakko Mäntyjärvi through this outstanding CD’ (MusicWeb International)

„Es macht Freude, in diese ferne Welt einzutauchen, weil sie das Orlando Consort ganz nah an uns ranholt: ausdrucksvoll, präzise, voller Intensität. Man mag einwenden, dass die rein vokale Interpretation nur eine Facette der vielfältigeren historischen Realität abbildet, in der wohl auch Instrumente eine Rolle spielten. Aber farbig ist diese Aufnahme dennoch: im steten Wechsel zwischen ein-, zwei- und dreistimmigen Stücken, aber auch in den individuellen Timbres der Sänger, die sich klar voneinander abheben und mal dem einen, mal dem anderen den Vortritt lassen. Jede Interpretation ist klug durchdacht, jede offene Frage plausibel gelöst, basierend auf einer nagelneuen wissenschaftlichen Notenausgabe. So lässt uns diese kraftvolle, schnörkellose, nuancenreiche Aufnahme tief eintauchen in Machaut kunstvolle Gegenwelt, die die Nöte der Zeit vergessen lässt“ (BR Klassik, Germany)

‘Fabulous playing’ (BBC Record Review)