‘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)

‘A very handsome memorial, with the refined, honeyed choir and atmospheric chapel acoustic in fine fettle, and a pleasing commissioned carol by Judith Weir, O mercy divine, accompanied solely by Guy Johnston’s fast-moving cello’ (The Times)

„Verehrer von Brahms‘ Kammermusik haben kaum etwas Schöneres gehört als die Violinsonaten mit der russisch stämmigen Geigerin Alina Ibragimova und dem französischen Pianisten Cédric Tiberghien“ (Oberösterreichisches Volksblatt, Austria)

„Es ist das pure Vergnügen, diesem symbiotischen Duo zuzuhören, wie die Geigerin und der Pianist auf einem Atem Brahms spielen“ (Der Tagesspiegel, Germany)

‘Venturing outside the British sound world, the Yale Schola Cantorum, under David Hill, give a refreshingly clean and athletic American account of Schütz’s 17th-century Christmas Story and assorted motets’ (The Times)

‘But for my disc of the year, I return to the mystical world of late Beethoven, and to Steven Osborne’s unassuming yet revelatory Hyperion disc of the last three sonatas. While the market becomes more saturated with sets of this immortal triumvirate by the month, the omnipresent danger of a dilution of the humanity and solace projected by these masterpieces is undeniable. Osborne prevails by yielding utterly to the music with flawless technique and total humility. He is assisted by a Hyperion recording which is so natural and clean it eclipses even the most outstanding piano discs that have previously emerged from that fine label. This disc has moved me far comprehensively than I anticipated when I compiled the original review. In a crowded field, trust me: this is the real thing. It absolutely encapsulates the motivation for writing these reviews. One is alive; and one recognises that being able to listen to this singular disc, on a weekly basis if I so choose, is a sacred and unalloyed privilege, never to be taken for granted’ (MusicWeb International)

‘Both moving and thoughtful (emotional and intellectual logics being inseparable in such music), Osborne’s readings of these three sonatas are amongst the very best recorded versions. The 'mysteries' of this music are articulated with audible sincerity and a beautiful touch. Fortunately, the recorded sound is top class too’ (MusicWeb International)