„Unter dem schichten Titel 'Christmas' ist bei Hyperion allerdings alles andere als eine bloße Pflichtübung erschienen … gemeinsam verfügen sie [The Gesualdo Six] über eine reich sich verströmende Substanz, die Stimmen zeichnen klar, sind fein balanciert und zur edlen Verschmelzung fähig … in der Summe ist das ein eigenständiges, gelegentlich auch eigenwilliges Programm, mit schroffen, aber fruchtbaren stilistischen Wechseln auf engstem Raum“ (Klassik.com, Germany)» More

‘Keyboard music of an earlier era features on another of our Top Ten: Mahan Esfahani’s eagerly awaited account of Bach’s harpsichord Toccatas, played on an outrageously magnificent new instrument modelled after Mietke and Pleyel (and including a gorgeously sonorous 16’ stop!). These are brilliantly free-spirited performances which combine expert scholarship with a level of musical daring that few others can rival, and they make one marvel anew at the profusion of inventiveness in one of the too-often overlooked corners of Bach’s keyboard music. Under Esfahani’s hands, the instrument growls, thunders, but also draws delicate tracery, and offers clear voicing in the fugal sections. Truly, a disc that has to be heard to be believed!’ (The Europadisc Review)

‘Our other star violinist this year was Alina Ibragimova, with her distinctive combination of expressive flair and rich musical intelligence. She and her regular pianist Cédric Tiberghien won critical acclaim for their coupling of Sonatas by Franck and Vierne back in March, but for us it was their August release of Brahms’s Violin Sonatas, in fabulously detailed, revivifying, yet generous-spirited performances, that just pipped it to the post. The inclusion of one of Clara Schumann’s Romances for violin and piano was an added attraction to this marvellous release, the music springing from the speakers as if freshly-minted’ (The Europadisc Review)

‘One disc above all this year has impressed us with the sheer quality of its music-making, gorgeously blended, exquisitely phrased, and caught in marvellous sound that does true justice to the music itself. Palestrina’s Lamentations have been admired by such later composers as Mendelssohn, Wagner and Debussy as models of perfection in the art of composition. In a new recording from the vocal ensemble Cinquecento of the Second Book, sung one-voice-per-part, they now receive the treatment they so richly deserve. Ranging from three- to eight-part textures, but typically five or six, these sonic jewels display a variety that is both subtle and completely absorbing. This may be music designed for performance in Holy Week, but the delights uncovered by these glorious performances are the sort that can sustain you all year round. Unquestionably a landmark addition to the catalogue, in an enormously impressive year it can still confidently take our accolade of Disc of the Year’ (The Europadisc Review)

„Die emotionale Tiefe und Eindringlichkeit, mit der die beiden Künstler sich und den Zuhörer in eine Einheit von Musik, Sprache und intime Atmosphäre zu versenken verstehen, ist entwaffnend und unverstellt direkt … dieses Album ist ein Muss!“ (Klassik.com, Germany)» More

„Der Chor der Yale Schola Cantorum setzt sich aus 29 Köpfen zusammen, ist also keineswegs minimalistisch, nicht einmal schmal besetzt. Dennoch überwiegt der positive Eindruck schlanker und gelenkiger Register, die bei aller Beweglichkeit kernhaltig sind und das solistische Geschehen in den Motetten wie in der Historie ästhetisch schlüssig komplementieren—als nobel klingendes Ripieno oder geschmackvoll modellierte Größe in den Intermedien. Sämtliche Soli speisen sich aus dem Chor. Das Niveau ist erstaunlich harmonisch und hoch, zum Beispiel ist SWV 384 'Ein Kind ist uns geboren' ein solistisch besetzter Ohrenschmaus; etliche weitere Konstellationen sind gleichfalls beglückend … Farbenreich präsentiert sich das überschaubar besetzte Instrumentalensemble, getragen von Understatement und Dezenz; dennoch wirkt es sehr kenntlich und fügt das hinzu, was dem Vokalen an Valeurs abgeht. Klanglich ist das Bild stimmig, fein balanciert und klar in der Struktur. Schütz also aus Yale: kundig und mit Geschmack geboten“ (Klassik.com, Germany)

‘What I love about this group—this is just their second disc—is it’s incredibly natural, it’s very forthright: they are so musical, so sensitive; we see straight through to the text … the way they listen to each other—the Tallis, these long phrases—I don’t know how they can sing it that slowly with so few singers. It really is miraculous! … I love that sense of magic that they get … not something kitsch and traditional and retrospective but something that has life in it’ (BBC Record Review)

'Hodie' is one of the highlights for the brightness and security of the choral singing … an excellent recording’ (BBC Record Review)

‘A humble, beautiful, faithfully sung and straightforward presentation of wonderful music that will take you back to a time long forgotten and in separate need of resurrection in our modern society. Sonics are wonderful and the choir is obviously on top of its game. Sit back, relax, and delve into the mysteries of the season’ (Audiophile Audition, USA)» More

‘On purely technical terms, the Hyperion recording gives us much more inner detail and a crystal-clear, beautifully-proportioned sound, which pays handsomely in the delightful second movement ‘Marche-Scherzo’ [of Symphony No 1], the disarming melody wafting easily across the orchestra with the harp playing a key role in keeping it all in the air. If anything, it’s the spirit of Schubert which hangs prominently over this movement, and the profusion of lovely tunes is made all the more satisfying by Fischer’s expansive approach. Even more lovely is the solo clarinet playing which announces the broad-sweeping theme of the third movement … you get the impression Fischer is utterly convinced as to the soaring qualities of this lovely music … if I were looking for something revelatory to come out of this disc it is this vivid and majestic performance of a very familiar old favourite [Le carnaval des animaux]’ (MusicWeb International)» More

'Garrick Ohlsson er den idelle Brahmsfortolker. Man kan få masser af indspilninger af Brahms’ sene klaverstykker, men den amerikanske klaverveteran får musikken til at klinge magisk og naturligt på samme tid. Under hans fingre trækker tonerne vejret, som om de lige var skrevet' (Politiken, Denmark)

‘This superior seasonal disc, chiefly of carols (some with organ played by Luke Bond), is satisfyingly divided into three parts: Advent, Christmas and Epiphany. Each starts with a plainchant, followed by a Byrd polyphonic setting. There are lively juxtapositions of old and new, as when Byrd is followed by Alun Hoddinott, then Gibbons by Michael Finnissy’s affecting carol Telling’ (The Sunday Times)