‘The recording is well matched with artistry that flickers, surges and pursues a legato path and that extends to all the musicians and technicians involved. These qualities illuminate generously romantic works that otherwise have sunk in Housman’s terms ‘far past the plunge of plummet’’ (MusicWeb International)» More

‘The performances are excellent, the recording spectacularly good and I found the experience utterly convincing. It's a remarkable achievement’ (BBC Record Review)

‘Gerhardt’s one of those players who finds what feels like a fine balance between the intimacy of Bach’s solo suites—the personal reflection—and the more extrovert act of performing and recording them for an audience. I like the lightness of his touch when it comes to the chords, the way he accompanies the main line without distorting it, yet also allowing himself plenty of freedom of expression and enjoyable plasticity of tempo’ (BBC Record Review)

‘Osborne’s explosive edge-of-the-seat approach to the rhetorical outbursts of the second movement [of Op 110] is combined with wonderfully clear articulation, and then there’s the profundity of the Adagio leading to the powerfully melancholy final fugue. And before all of those things, the heart-stopping simplicity and tenderness of the sonata’s opening … this recording contains the full dynamic range of Osborne’s playing without compressing or distancing for safety. The volatility and dangerous edge to it comes through undiminished. This is Beethoven with no safety net, thrillingly alive … it's my Record of the Week’ (BBC Record Review)

‘The quality of the playing and particularly the upper strings of the BBC Scottish Symphony Orchestra is superb; it's by far the best of—dare I say it?!—the BBC orchestras, and it's lovely to hear Martyn Brabbins at home with these idioms … anyone Tippett-curious needs this’ (BBC Record Review)

‘A project delivered with McCreesh's customary attention to detail, ranging from sourcing appropriate timpani to calculated spatial effects such as the Regalia Procession heard moving through the distant cloister. It's a labour of love and sounds it … vivant the Gabrielis—not forgetting the massed 250 young singers of their outreach 'Gabrieli Roar' (BBC Music Magazine)

‘Osborne plays the variations of Op 109 with refinement, letting them grow to majestic proportions before returning to the cantabile simplicity of the theme. And he takes Beethoven's marking 'con amabilita' as his cue for the first movement of Op 110, playing with such restraint that it feels as though lost in a dream—then letting the earthy energy of the drinking song crash in as a rude incursion. The rest of this Sonata comes in carefully-calibrated chiaroscuro as Beethoven's colourings modulate from subfusc greys to a final blaze of light. After a mighty and full-blooded account of the Op 111 Allegro, he gives both the jazziest performance of the variations I have ever heard, and also one of the most heart-stopping in their ultimate finality’ (BBC Music Magazine)» More

‘Superb singing by the Huddersfield Choral Society … Martyn Brabbins directs a vigorous and characterful account’ (BBC Music Magazine)

‘Perfection of blend, plushness of textures, and visceral impact of musical choices are all world-class’ (BBC Music Magazine)

‘Howard Shelley gives meltingly lyrical and beautifully shaped accounts of all four pieces, his smooth and singing tone well-suited to this musical idiom; and he makes a heroic effort in also directing the orchestra from the keyboard in repertoire that keeps the pianist's hands extremely busy’ (BBC Music Magazine)

‘These players understand what it's all about, and the sound is always beautifully honed’ (BBC Music Magazine)

‘Excellent performances by Andrew Lumsden's forces, an atmospheric recording, with a fine sense of perspective in the Cathedral acoustic, and helpful notes by Martin Neary, a former Winchester organist and a friend of the composer, together make this a highly recommendable single-disc survey of Tavener's church music’ (BBC Music Magazine)