‘As school choirs go, Westminster School's is rather fine, its dynamic range and blend top notch. An ambitious yet attractive programme’ (BBC Music Magazine)

‘Cinquecento specialises in performing music from the 1500s and, with members from Austria, Belgium, England, Germany and Switzerland, models itself after an imperial chapel choir whose singers were drawn from the finest choral establishments across Europe. Using one voice to a part (as was common practice in 16th-century Rome), the ensemble is lucid and detailed: individual lines are sharply drawn yet the overall effect is richly sonorous. An ensemble of adult male singers (rather than female voices or boys on the upper parts) throws the weight on the dusky colours of Palestrina’s palette and also lends a robustly virile quality to the sound’ (BBC Music Magazine)

‘Perhaps the most arresting and unexpected touch is the eight-voice setting of 'Jerusalem, Jerusalem' at the end of Lectio III for Holy Saturday, where three extra tenor parts fill out the texture and create a magical ending. Throughout this album Cinquecento offer a performance which is truly reflective and tender’ (Gramophone)

‘Enter McCreesh and his team. They've rethought not just the score, but the instruments and practices of Purcell's day. In their King Arthur, choruses are more vibrant, dance rhythms more percussive and solos more delicate than in any previous recording … this King Arthur is another jewel in McCreesh's crown’ (BBC Music Magazine)

‘Schütz’s Italianate oratorio is one of the masterpieces of the early Baroque and is performed beautifully here. Voices and instruments are superbly balanced within the rich recorded texture’ (BBC Music Magazine)

‘The Yale Schola Cantorum comprises roughly 30 singers and a dozen instrumentalists, but they sound light and bright nonetheless. They make a fine impression in the opening Hodie Christus natus est, and the choir’s interventions are among the most telling on this CD’ (Gramophone)

‘Gugnin finds surprising poetry in the music, but if you want to persuade anyone of his transcendental technique in 25 seconds, play them the Fifth (D major) Prelude (track six), where the even passagework played at a rapid speed is little short of miraculous … a ferocious new talent who can also accomplish introspection. Masterly’ (BBC Music Magazine)» More

‘A new recording now has to tell us something new about the piece—and this one does, gloriously. It’s obvious from the first few bars, where Dausgaard scrupulously observes minor changes of dynamic, that this is going to be a reading that pays especial attention to the detail of the score, and again and again throughout these 73 minutes he brings out some aspect of the orchestration, the balance, the tempo, the rhythm, that I hadn’t noticed before—and the players of the BBC Scottish reward him with a chamber-musical clarity and a whipcrack responsiveness that is altogether remarkable … play this loud (as you will definitely want to) and its sheer physical impact will have you conducting along—you won’t be able to sit still. Daniel Grimley’s booklet note is a model of what these things should be. In short, this is a thrilling, wildly exciting release. We all knew that Kullervo was a work of astonishing radicality, unlike anything else in the music of its day; Dausgaard’s achievement is that he reveals just how radical it really was—and still is. If this recording doesn’t sweep up an indecent quantity of prizes, there’s something wrong with the world’ (Finnish Music Quarterly, Finland)» More

‘Robin Tritschler's sweet-toned voice is a delight, as is Malcolm Martineau's sparkling, pearly, luminous piano sound. The recording quality has a beautiful clarity and intimacy’ (BBC Music Magazine)

‘This recording is a testimony to John Tavener’s long association with the choir of Winchester Cathedral, who perform a selection of pieces from throughout the composer’s career with unerring accuracy and sublime musicality. A bonus is the personal dimension achieved by the inclusion of a booklet note by the choir’s former director, Martin Neary’ (Gramophone)

‘Brabbins completes his Tippett cycle with the 'bluesy' Third Symphony and its successor, a powerful birth-to-death journey, brilliantly played by the Scottish orchestra’ (The Sunday Times)

‘The completion of Brabbins's Tippett symphony cycle, including the first recording of a fascinating early work, is further cause for celebration, and a timely reminder of this composer's special strengths’ (Gramophone)