‘St George's Chapel has a splendid choral tradition to uphold and it is evident that is safe under the direction of James Vivian and Luke Bond together with the Choristers and Lay Clerks. This CD is a joy and delight: it is all that a choral recording should be—there is splendid ensemble singing (tuning, dynamics, etc.), sympathetic accompaniments and the solos given by the Lay Clerks are spot on’ (Organists' Review)

‘A highly enjoyable mix of eighteenth-century concertos from around Europe reminding us how interrelated many of these composers' lives—and their music—actually were’ (BBC Record Review)

‘Some series there are which get things so consistently right that … it’s very difficult to say anything new about them … La Serenissima’s undoubted expertise in Vivaldi is now equalled by their Telemann … [there] are fine all-Telemann special collections, but I’d find it hard to prefer any one of them to La Serenissima on the new album’ (MusicWeb International)

‘Oliver Davis (b1972) writes music that is easy on the ears, full of warm harmonies and buyant rhythms … Kerenza Peacock's soaring solo [in Gemini] is especially sumptuous, and she shines again in the folk fiddle-inspired second movement’ (BBC Music Magazine)

‘The Scholars take the [Missa Mater Patris] at an aptly reverential tread, capturing its introspective—at times hypnotic—qualities. The writing is tight and spare, the composer contrasting imitative duets with richer chordal passages. Using just one or two voices to a part, this performance is both immediate and intimate … the Scholars realise the [Missa Da pacem] with all the clarity, precision, clarity and conviction for which they are justly renowned’ (BBC Music Magazine)

‘Enter McCreesh and his team. They've rethought not just the score, but the instruments and practices of Purcell's day. In their King Arthur, choruses are more vibrant, dance rhythms more percussive and solos more delicate than in any previous recording … this King Arthur is another jewel in McCreesh's crown’ (BBC Music Magazine)

‘A short but sweet selection of piano solos performed by the young Scottish composer. Engaging, emotional and lyrical’ (BBC Music Magazine)

‘The combination of Kolesnikov's sensitive touch, a Yamaha CFX concert grand and Andrew Keener's production values gives us beautiful sounds in abundance … Kolesnikov is clearly a pianist and musician of exceptional talent’ (BBC Music Magazine)

‘Robin Tritschler's sweet-toned voice is a delight, as is Malcolm Martineau's sparkling, pearly, luminous piano sound. The recording quality has a beautiful clarity and intimacy’ (BBC Music Magazine)

‘It’s a beautiful sound … they just blend perfectly together … the timbre’s interesting as well. You’ve got countertenor Terry Wey on the top of the texture, and he’s a little bit of a magician with this kind of consort singing … the vocal control is quite remarkable’ (BBC Record Review)» More

‘It seems almost superfluous to say so by now but the singing of The Tallis Scholars is on the usual exalted level throughout this disc. Blend, tuning and ensemble are absolutely impeccable. The music for both masses has been edited by Timothy Symons. Of course, Josquin left no expression marks or dynamics in his scores; all that and much more is left to the interpretative skills of Peter Phillips and the execution of his expert singers. Suffice to say that they bring this music vividly to life: these performances are characterised by musical flair and imagination as much as by scholarship. The engineering was in the safe hands of Philip Hobbs. He’s well used to recording this ensemble in the lovely acoustic of Merton College Chapel and the results of his work delight the ear: the recording is truthful and expertly balanced. As ever with Gimell, the documentation is first class. This, I believe is the penultimate release in this Josquin series. I look forward very much to the completion of this important series in due course. This latest disc, though, is a mandatory and self-recommending purchase for everyone who has been following the series’ (MusicWeb International)» More

‘Gugnin finds surprising poetry in the music, but if you want to persuade anyone of his transcendental technique in 25 seconds, play them the Fifth (D major) Prelude (track six), where the even passagework played at a rapid speed is little short of miraculous … a ferocious new talent who can also accomplish introspection. Masterly’ (BBC Music Magazine)» More