‘Only in her late 20s, Russian-born Aigul Akhmetshina has caused a considerable stir of late after what can only be described as a meteoric rise … now, following a much-publicised signing to Decca, we have her debut album, and a fine achievement it is … she has a superb voice, no question, warm and even in tone, admirably agile, with a full, effortless top, and a tangy lower register. Texts, meanwhile, are insightfully projected without nudging or fracturing lines, which makes for a notably impressive performance of Carmen’s Card Scene, in which subtle dynamic shading gradually exposes dark forebodings as the long chromatic phrases unwind with an almost unnerving inexorability … it all adds up to a fine recital, and a most auspicious debut’ (Gramophone)

‘Here’s an abundant harvest, one so rich in its offerings that it’s hard to know where to start. One could, perhaps, begin with Hamelin’s brilliant intricacy—what might be seen as his attempt to out-Godowsky Godowsky … and yet: despite the virtuoso dazzle, despite the historical sweep, and especially despite his sense of humor, Hamelin is far from a barn-burner, far from an intellectual show-off, and far from a mere comedian. This is music of tremendous structural skill, showing, in particular, an ability to revitalize traditional forms … it’s also music shot through with striking emotional depth … the playing, as expected, is spectacular … all in all, a clear candidate for this year’s Want List’ (Fanfare, USA)

‘This is a gorgeous recording of music from the Spanish Siglo de Oro, and it is beautifully performed by this young Spanish choral ensemble’ (American Record Guide)

„Schon die ersten Töne des Kyrie der Missa „A la dolc' ombra“ lassen aufhorchen: Vom Bass wohlgrundiert, begeistert ein aufgefächerter Klang, der die Verläufe jeder Stimme zwar offen legt, letztlich aber doch von einem wunderbar vollen Ensembleklang geprägt ist. Dass hierzu fünf Männer stimmen ausreichen, erstaunt nach wie vor … Die gute Durchhörbarkeit erlaubt auch bei den insgesamt eher ruhig dahinfließenden Sätzen erstaunliche Spannungsbögen, die jegliche Eintönigkeit verhindert. Und wann hört man schon einmal auch im Timbre so wundervoll aufeinander abgestimmte Stimmen?“ (Fono Forum, Germany)» More

‘All in all this is a treasure trove of works, some little known and rarely performed, in a wide variety of styles and vocal scorings spanning the first half of the 16th century. Beautifully sung and meticulously researched, it will generously repay repeated hearings’ (Gramophone)

‘[Mishka Rushdie Momen] seeks an underlying spirituality to the music. The playing is smoother, the touch lighter, the aim more to comfort the mind than arrest it … less dramatic but more even-tempered and sometimes even delightfully sentimental, Momen’s approach is different but no less satisfying. I admired [Kit] Armstrong’s freedom and flirtation with anachronism, but I find this album exerts a stronger emotional appeal. It makes a fine complement to the earlier one, even with a number of works overlapping. If this is to be core repertoire for contemporary pianists, then bring on the pleasure of comparing and contrasting multiple artists grappling with the same material’ (Gramophone)

‘Piers Lane is unquestionably one of the best and most versatile pianists in the world … there is probably not a better pianist these days than Lane for this kind of program. He keeps the themes ever present while enjoying all the wonderful things the composers do with them … as with all Hyperion releases, the recorded piano sound is superb and the booklet essay is very well written and quite informative. This is a highly recommended disc that will stay on my active listening stack for quite some time’ (Fanfare, USA)

‘The finale, which returns to the major-to-minor-and-back-again motif of the first, is a joyous romp, however arduous the paces first violinist Edward Dusinberre is put through. Richard O’Neill, the new violist, is outstanding here, too, especially in the closing peroration. The quartet takes the unusual step, incidentally, of not omitting the exposition repeat in the first movement … Schubert’s lengths, in this case, really are heavenly’ (Fanfare, USA)

‘Kirkman and his singers guide the listener through this absorbing musical landscape with a sureness of pulse, immaculate intonation and brightness of timbre that are endlessly compelling, bringing out all the beauty of Obrecht’s contrapuntal mastery while revelling in the sheer exuberance of the textures … this disc is a very fitting tribute [to the late Philip Weller], which fairly bubbles over with the enthusiasm he had for music and for his fellow creatures. And as a continuation of the Binchois Consort’s continuing probing exploration of music from the 15th century, it’s simply unmissable’ (The Europadisc Review)» More

‘This is the kind of album you wish would never end’ (The Times)» More

„Einfach überwältigend gut—die Stimmen mischen sich perfekt, weiche Höhe, markante Tiefe, blitzesaubere Intonation und Vokalfärbung; dieses Ensemble singt mit einem wunderbaren Fluss und schafft grade die richtige Balance zwischen Spannung und Ruhe, die für die Musik der Renaissance so wichtig ist“ (SWR Kultur, Germany)» More

'Musikerne holder fint sammen på det stort anlagte værk, hvor alene førstesatsen varer over tyve minutter. Der er en spændende, tilbageholdt kraft i førstesatsen, hvor de kommer ned i det mest tyste piano uden at tabe intensitet eller velklang … Den italiensk-inspirerede finale er nok kvartettens umiddelbart mest tilgængelige sats, og den bliver virtuost spillet, let og dansende og med en gennemført skøn klang' (Klassisk, Denmark)