‘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

‘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)

‘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)

‘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)

‘Such a well-established and often inspirational musical partnership that I inevitably had high hopes for their Brahms sonatas, and I’m so happy to report that they were in no way disappointed. Right from the start (the first movement of the G major sonata), there’s a confessional intimacy that allows them to steadily build over the entire ten minute span of the first movement to a properly ecstatic conclusion rarely achieved as well as it is here. No extreme tempos, an unerring sense of give and take—you might be surprised how many estimable players don’t seem to know when to allow the other party to take the limelight. The climaxes are telling, without hectoring. They allow the music to speak eloquently, conversationally, surprisingly gently sometimes, and the recording is as well balanced as the playing. I have a handful of favourite recordings of the Brahms violin sonatas that will now have to shuffle up to make space for this one.’ (BBC Record Review)

‘The pairing of Ibragimova’s sweet-toned but deeply intelligent playing with Tiberghien’s wonderfully transparent pianism works wonders with Brahms … these are indeed unforgettable performances, combining exquisite tonal refinement with the constantly alert musical intelligence that is a hallmark of these players’ collaborations, and they must surely take their place at the head of a very distinguished field indeed … altogether, an absolute peach of a disc, and Brahms playing of rare distinction’ (The Europadisc Review)» More

‘The performances of these shrunken orchestrations are admirable throughout. David Owen Norris plays the solo piano part in the concerto, as well as the lion’s share of notes in the other selections, deftly. Understandably, all four of these works proffer a different energy and soundscape than the versions we are accustomed to in the 21st century. But so what? They are seriously entertaining even if drastically reduced in forces—ebullient and, at times, quite moving’ (The Arts Fuse, USA)

‘For some time now, Nicky Spence has been making his mark as one of the most communicative of young British singers (Spence is a Scot), and this disc is a reminder of what he has achieved. The contribution of the pianist Julius Drake is, of course, sui generis, and he is the perfect accompanist; the marriage of singer and piano here is nigh impeccable.’ (CD Choice.co.uk)