‘Esfahani rightly draws contrasts in tempo, register, and character between one section and the next to bring these works to life … these are unquestionably astute and imaginative readings’ (Classical Source)» More

‘Now that we so often hear Bach’s keyboard works played on the piano … returning to performances on the harpsichord can prove a revelation. This is especially true in hands as persuasive as those of the Iranian-American harpsichordist Mahan Esfahani. His new disc of Bach’s Toccatas conveys the spirit and expressive freedom of these seven early works’ (The Guardian)

‘Engaging, entertaining realizations from David Owen Norris on an original 1820s Broadwood piano’ (BBC Record Review)

‘Such a tremendous performance [of the Kabalevsky] … superb’ (BBC Record Review)

„Dem dänischen Dirigenten Thomas Dausgaard gelingt es mit seinem BBC Scottish Symphony Orchestra und den Männern von Lunds Studentsångare in jedem Takt wie selbstverständlich eine Atmosphäre von nordischer Archaik zu erzeugen. Chor und die beiden hervorragenden Solisten, Helena Juntunen und Benjamin Appl, bestechen nicht nur durch klare finnische Aussprache, sondern durch die nötige stimmliche Dramatik und Gestaltungskraft. Die Einspielung ist sängerisch und orchestral aus einem Guss und macht deutlich, welch packende Musik der junge Jean Sibelius da komponiert hat. Schließt man kurz die Augen und träumt sich zurück, nach Helsinki 1892, dann kann man die damalige Begeisterung gut nachvollziehen“ (BR Klassik, Germany)

‘Some of the most extroverted Bach I’ve ever heard forms this week’s Recording of the Week, as Iranian-American harpsichordist Mahan Esfahani brings his customary panache to the seven toccatas for keyboard, BWV910-916 … it’s thought that these toccatas were written, in part, as vehicles for Bach to show off his own technical skills at the keyboard; certainly they incorporate some impressive levels of virtuosity. It should come as no surprise that Esfahani is undaunted by such challenges, but what really sets this album apart is not his fingerwork but the way he exploits the capabilities of his instrument to also bring out the drama in these showy works … I have no hesitation in predicting that this recording will scoop award after award’ (Presto Classical)» More

‘These are enthralling performances. Esfahani’s playing feels free and spontaneous without losing the underlying pulse of the music. The toccatas display their brilliance proudly. One can imagine the young Bach showing off his prowess just like this’ (Financial Times)

‘The handpicked musicians beaver through happily, led by the prancing and dynamic David Owen Norris, armed with an 1826 Broadwood piano. Familiar music, delightfully played, viewed from a novel perspective; in a word, irresistible’ (The Times)

‘Impeccably judged sound and balance throughout; authoritative annotations, too, from Paul Spicer and Jonathan Clinch. All told, a hugely rewarding issue, and absolutely not be missed’ (Gramophone)

‘[Nicky Spence] sings with sensitivity and intelligence, projects the words with consistent clarity and covers this wonderful cycle’s broad emotional range movingly and convincingly … the couplings are hardly less fine … Drake offers vividly etched playing once more (listen to his way with the cimbalom-like strums and melismas that accompany the vocal line in ‘Rosemary’), while Voice join in for a rip-roaring account of the final song, ‘Musicians’. It’s a fitting conclusion to an album that offers much to celebrate: a superb achievement by Spence and Drake, in particular, and as persuasive an introduction to Janáček’s songs as you’ll find. Excellent engineering and presentation from Hyperion crown an outstanding release—highly recommended’ (Gramophone)

‘Large-scale choral works by James MacMillan, such as his early Seven Last Words from the Cross or the more recent Stabat mater, have received plenty of critical attention in the past, so it’s good at last to see a disc featuring the composer’s shorter, a cappella pieces … MacMillan’s strength lies in his ability to fuse sacred polyphonic, secular popular, folk and modernist elements into a musical language that remains distinct and immediately identifiable … this is an impressive recording overall’ (Gramophone)

‘Director Andrew Kirkman characterises Midlands alabaster as 'easily malleable and beautifully luminous', a description that could readily be applied not only to the programme he's artfully assembled, but equally to the Binchois's performance of it. Theirs is a music-making with all sense of ‘self' expunged’ (BBC Music Magazine)» More