‘Today, the performance of the polyphony of the Renaissance is pretty much the domain of specialized vocal ensembles, which sing masses and motets as part of a concert in a church or even a modern concert hall. The majority of recordings also features such ensembles. However, around the globe there are choirs for which this repertoire is part of the liturgy. They sing this kind of music on a daily basis. One of such choirs is the Westminster Cathedral Choir, which has recorded frequently for Hyperion. The present disc is the second of another choir of this kind, The London Oratory Schola Cantorum … and a very fine choir it is. I enjoyed the Christmas disc, and I am just as happy with the present recording, also because I happen to have a special liking of Spanish polyphony. I hoped it would be served well by this disc, and it is. The singing is excellent, and shows a commitment which is undoubtedly the effect of the music's being the singers' daily bread. The pieces recorded here are treasures indeed, and so is this disc’ (MusicWeb International)

‘The 500th anniversary of [Josquin's] death is marked in fine style by this new anthology by the Oxford-based Brabant Ensemble, a 13-strong choir led by Stephen Rice … Rice and his singers capture so well Josquin’s emotional, spiritual drive. The ensemble’s sound is clean and bright throughout with sopranos, altos, tenors and basses well balanced and the Latin diction, in an uncomplicated acoustic mix, is clear. And Rice’s detailed liner notes are a useful summary of the scholarly debates surrounding the music’ (Morning Star)

‘A particular triumph—of many—in this set is the rendition of Haydn’s sometimes achingly beautiful slow movements. I cannot recall performances more moving in their intensity and sensitivity. Even the most famous movement, the Kaiserlied, of Quartet No 3, becomes touchingly intense: to hear it in this performance is to encounter it as if for the first time … The London Haydn Quartet—in superior recording quality—give us so much rich treasure. These are special recordings of truly great music, and a more than worthy part of the marvellous ongoing series. Each time I have played them, I have found new insights’ (MusicWeb International)» More

‘If the genre of piano duet needs rescuing from the condescension of the salon, this excellent disc does just that … this collection will now become the disc I reach for when I want to hear any of these pieces’ (MusicWeb International)» More

‘Driver, as fleet of finger as this formidably challenging writing demands, has a mind that searches beyond contrivance; these are transfixing performances’ (The Sunday Times)

‘It's a fine recording … really well balanced and with all the choral quality and discipline we've come to expect from Layton and co. Cecilia McDowall couldn't ask for a better showcase for her choral music’ (BBC Record Review)

‘Yes please. This is just joyful music-making from the MultiPiano Ensemble and the English Chamber Orchestra … I really enjoyed the lightness of touch and the sheer enjoyment you sense as they explore Mozart's multipiano concertos’ (BBC Record Review)

‘This is a most worthwhile overview of some of the music of Francisco Guerrero. All the music on the disc is expertly crafted and very well worth hearing. Guerrero’s cause is helped greatly by the fact that his music is here performed by such an accomplished choir: I admired their disciplined, well-focused singing very much … Hyperion’s documentation is excellent, as usual … I hope the association between Hyperion and El León de Oro will continue beyond this excellent CD and its predecessor’ (MusicWeb International)» More

‘It’s hard not to go into auto-rave mode; and you’ll notice that, unusually, I haven’t worried about comparisons, for this needs none … this offers not only the perfect escape from our current locked-down state but also the most sublime example of peerless pianism’ (Gramophone)

‘This new disc by the Spanish choir El León de Oro of music by Francisco Guerrero (1528-99) joins an impressive line of recordings on the Hyperion label, whose dedication to Iberian repertoire is notable. Opening with Magnificat quarti toni, their radiant choral sound is carried by a convincing momentum. With nearly 40 singers, the phrases are confident and broad but never strident: this approach lends an especially atmospheric air to the Lamentations, where vowel sounds are soft and few consonants penetrate the warm glow of the generous acoustic. The result is a delightfully rich sonic bath that departs significantly from many British ensembles’ approach’ (Gramophone)

‘It’s amazing yet not surprising how quickly Ligeti’s piano Études entered the international repertoire, with recordings by Pierre-Laurent Aimard and Fredrik Ullén establishing themselves as the catalogue’s reference versions by the early 2000s. Many contenders have taken up the gauntlet since then, with Danny Driver’s latest offering counting among the strongest … the four Book 3 Études are no less detailed and vocally informed via Driver’s polished fingers and mindful musicianship. These qualities find a literary counterpart in the pianist’s informative, caring and well-written booklet notes. In essence, Driver’s Ligeti Études complement rather than compete with Aimard and Ullén, and that’s high praise’ (Gramophone)

‘The emotional informality of these pieces [the Canciones] is in marked contrast to Guerrero's complex polyphonic motets and the settings of the Lamentatations for Holy Week, in performances conducted by their guest conductor Peter Phillips from The Tallis Scholars. And he tells us in the notes that it shouldn't always be about Victoria when it comes to Spanish polyphony—Guerrero deserves to be much better known, and that this wide-ranging collection of his music sung by Spaniards is long overdue. I couldn't agree more on this evidence’ (BBC Record Review)