‘Accomplished with brilliance. At one moment a triumph of feathery lyricism and at others impressionistic delicacy against doughty pride. A resoundingly confident contribution to the Stanford revival’ (MusicWeb International)

‘Last year I enthusiastically welcomed Brabbins’ recordings of the first two Tippett symphonies. Now he has completed the cycle, and the results are even finer. The third, one of Tippett’s greatest works, gets the best performance I have heard, with Rachel Nicholls particularly convincing in the tricky vocal finale. In the fourth symphony Brabbins at last finds a convincing rendering of the breath effect which opens and closes the work, and indeed of the display of orchestral virtuosity which constitutes the main part. As a bonus we get the first recording of Tippett’s unnumbered early symphony, performed a few times, then withdrawn but now available again’ (MusicWeb International)

‘One senses throughout a judicious maintenance of familiar pillars … balanced with new elements such as the annual commissioned carol … and repertoire ranging from Medieval to composers from other traditions such as Arvo Pärt … the choir is generally in superb form, disciplined yet clearly relishing the music … superbly engineered, the recording vividly conjures the chapel’s unique acoustic’ (BBC Music Magazine)

‘Even in an overcrowded field, the cellist’s playing of Bach’s baroque dances commands attention for his musical insight and formidable technical bravura’ (The Sunday Times)

‘Hewitt’s playing is characteristically limpid, technically faultless, deeply intelligent and infectiously joyous. Her decades of experience playing this repertoire gives it a special patina; it glows like old gold. Give yourself an early Christmas present; you’ll want to play this again and again.’ (The Guardian)

‘While Hewitt’s stylish integrity, superb finger independence and deep feeling for the music’s roots in dance remains a constant, there’s now a greater level of interplay between hands, with added variety of articulation and rhythmic flexibility’ (Gramophone)

‘Steven Osborne proves that he is the ideal modern-day Beethovenian, utterly at one with the composer. He conjures the different worlds of each of the last three sonatas with imagination, daring and a tremendous sense of engagement that allow him to make this music entirely his own. Miss it if you dare’ (Gramophone)

‘A short but sweet selection of piano solos performed by the young Scottish composer. Engaging, emotional and lyrical’ (BBC Music Magazine)

‘The combination of Kolesnikov's sensitive touch, a Yamaha CFX concert grand and Andrew Keener's production values gives us beautiful sounds in abundance … Kolesnikov is clearly a pianist and musician of exceptional talent’ (BBC Music Magazine)

‘A delightful album by an all-male a cappella group is hard to come by—all too often they’re po-faced or schmaltzy; but this is neither. An elegant blend of old and new’ (BBC Music Magazine)

‘The close recording of the male-voice line-up of The Gesualdo Six on Christmas reveals the tightness of their ensemble in repertoire ranging from Praetorius to Cheryl Frances-Hoad. Tenor Joseph Wicks’ a cappella arrangement of Jonathan Harvey’s The Annnunciation and director Owain Park’s vibrant On the Infancy of our Saviour compliment well-chosen pieces, making for a delightful and informative listening experience—and a thoughtful stocking filler!’ (Choir & Organ)

‘St George's Chapel has a splendid choral tradition to uphold and it is evident that is safe under the direction of James Vivian and Luke Bond together with the Choristers and Lay Clerks. This CD is a joy and delight: it is all that a choral recording should be—there is splendid ensemble singing (tuning, dynamics, etc.), sympathetic accompaniments and the solos given by the Lay Clerks are spot on’ (Organists' Review)