‘Christopher Warren-Green secures crisp rhythms and vivid detail from the Philharmonia in lifelike sound. In choosing the Mozart as companion piece, van de Wiel faces the stiffest recording competition. But he also has an angle: treating this last of Mozart's concertos less with the nostalgic languor of a composer already foreseeing the end than with the straight-toned vigour of a still-young creator who thinks life is going to go on. It is a valid approach’ (BBC Music Magazine)

‘The variety of moods in these miscellanea, lovingly performed by the Ulster Orchestra and Howard Shelley in congenial sound, is one of its most attractive features … and the most winning work? Definitely Fairy Day, with fey, dated poetry transformed into fine art through constantly modulating, simple harmonies, sweetly sung by sopranos and altos from the choir Codetta, and the most luminously delicate instrumental textures. Stanford as Mendelssohn, perhaps, and it’s lovely’ (BBC Music Magazine)

‘Under Mahan Esfahani’s fleet fingers, and even fleeter imagination, [the Toccatas] positively fly … Esfahani continually finds more in the music than the page might suggest … fugues that in other performances outstay their welcome simply don’t. Esfahani perfectly understands the toccatas’ architecture, yet celebrates their quirkiness and, interrogating every note, is generous with expressive pauses’ (BBC Music Magazine)» More

„Auch hier feiern Ibragimova und Tiberghien das Kantable mit einer Intensität, Klangsinnlichkeit und zugleich mit einer schwerelos anmutenden Tonschönheit, die einem mitten in Herz fährt“ (Rondo, Germany)» More

‘Both concertos have irresistibly charming Romance-style slow movements, while the outer movements are flawlessly constructed. Howard Shelley plays and conducts with such serene control that piano and orchestra seem to become one single instrument’ (BBC Music Magazine)» More

‘We are accustomed, happily, to excellent recorded recitals from Stephen Layton and the Trinity College Choir. This is another fine example of their work. The blend of the voices is ideal and these student choristers sing with an excellent mixture of maturity and freshness. Words are clear throughout, as are the choral textures. In the accompanied piece the two organ scholars, Alexander Hamilton and Asher Oliver, make first-rate contributions. The recording was in the safe hands of engineer David Hinitt and producer Adrian Peacock. Both are massively experienced in recording programmes of the kind and it shows: the sound has warmth and clarity with just the right mount of resonance round the voices. The organ is balanced very well with the choir. Francis Pott’s notes are insightful and valuable’ (MusicWeb International)

‘What a beautifully crafted disc this is—not just in its quality (and it really is Trinity at their absolute best) but also in its shape and programming … [an] outstanding release’ (Gramophone)

‘A magnificent realisation of a viscerally rewarding work’ (BBC Music Magazine)» More

‘In a review of this sort of project it’s customary to add the caveat that these arrangements can’t begin to do justice to Mozart’s original conception of these works. In this case, thanks to four fully committed musicians—primarily the indefatigable Norris—that’s poppycock. The Jupiter, especially, is required listening’ (Gramophone)

‘The Mozart (with concluding applause) is never less than pleasant; the Phibbs, however, is essential’ (Gramophone)

‘Every unorthodox texture, ostinato and accompaniment makes its mark; the Brucknerian discontinuities are relished as musical theatre, with silences tense and dramatic … everything sounds good in Glasgow's gorgeous City Halls. Kullervo may not have triumphed, but the Scots and their Danish chief conductor absolutely do here’ (BBC Music Magazine)» More

‘A total delight’ (BBC Music Magazine)