‘Linus Roth proves a thoughtful soloist. His sweet tone and artful feel for the [Lassen]’s phrasal uplift is best encountered in the slow movement, the whole cantilena of which sounds to me like a song arrangement, though the arabesques, with an underlying waltz rhythm, prove especially ear catching … the notes to this issue are by MWI contributor Philip Borg-Wheeler and very readable and informative they are too. The BBC Scottish Symphony under Antony Hermus, who has made something of a specialty of the romantic literature, plays with great sympathy and sense of colour … this disc offers an out-of-the-way sidelight on the repertoire’ (MusicWeb International)» More

‘Taking the bait, the BBC Scottish Symphony Orchestra, big as always on brass and percussion, respond to any detail and every intention. Dausgaard brings plenty to the table. The rhythmic bite and string articulation (nourished despite being no more than 14.12.10.8.6) generates febrile electricity and tautness from the onset, the tutti climaxes attacked powerfully, the voicing of sound-print chords and solos keenly judged … come the end, gripped by the sensualism, swagger and sorrow of it all, the Loki fire, you feel as though you've been on an epic symphonic voyage, that here, youth regardless, lies truly some of the most imaginative, inventively original, raw music of an era, Strauss and Mahler notwithstanding’ (Classical Source)» More

‘Callaghan’s adroitly played disc’ (The Guardian)

‘Hyperion have given us a very fine version of Kullervo. Engineer Simon Eadon and producer Andrew Keener have presented the performance in excellent sound … you won’t go far wrong with this performance of Sibelius’s early symphony.’ (MusicWeb International)

‘Hats off to pianist-conductor Howard Shelley, who has by no small set of skills kept this often wild and wily music in constant motion … a perpetual source of musical wonder’ (Audiophile Audition, USA)

‘This celebration of Herbert Howells (1892-1983) forms Stephen Cleobury’s final recordings from King’s College Cambridge where he has been director of music for thirty-seven years. Of particular interest are the rarely performed An English Mass and the Cello Concerto, although both are previously recorded … the rhapsodic first movement [of the Concerto] is given due respect to its spacious arch-like design and the central ‘Threnody’ is sculpted with warm expressivity, its elegiac ruminations fully explored. If this dark-hued lament reaches into the core of the composer’s heartache, then the colourful Finale with its Walton-like vigour is no-less tinged with melancholic lyricism … the recorded sound is excellent’ (Classical Source)» More

‘Throughout this recording, The Elysian Singers under Sam Laughton are excellent, rising to every challenge that James MacMillan poses and coming out shining. They set a very high standard in their earlier recording of his music, but here they surpass it. The acoustic is very good indeed and this helps the Elysian’s perfect diction come through clear and bright, while the beautiful sound of Alexandra Caldon’s violin is perfectly balanced so that it does not detract from the vocal line and is never itself overpowered. The brief introductions to the music in the booklet are very good; full texts are given in English and, where applicable, Latin. This is a very fine disc and a must for any follower of the music of James MacMillan’ (MusicWeb International)

‘I admired the Leonore Trio’s first Parry CD very much and this follow-up release is just as good. In saying that I’m referring both to the interest, accomplishment and value in the music itself and also to the excellent performances. Parry’s music could not be in better hands. The recordings themselves come from the same source as the first disc and the sound quality is excellent. As ever, Jeremy Dibble’s notes provide a thorough and reliable introduction to the music’ (MusicWeb International)» More

‘Phibbs (born 1974), writing especially for van de Wiel, has created a four-movement work of considerable appeal. A lyrical opening might be heard as dawn breaking, with some enchanted chords suggesting glints of sunrise, before a slinky dance emerges (as if Malcolm Arnold had visited America wearing a blue suit) … once again Warren-Green conducts with attention to detail (he is a former concertmaster of the Philharmonia Orchestra) and van de Wiel’s colleagues offer complete support to the unflagging clarinettist, Hatch again capturing the distinction of the music and this performance’ (Classical Source)» More

‘The secret to performing Howells’s music … is to catch its very English way of expressing deep feeling, which works by repression and hints rather than direct statement. Guy Johnston does this especially well in his performance of the Cello Concerto, which emerges as a substantial piece. And it’s not all repression; with the surprisingly joyful and energetic Finale he really seizes the moment’ (The Telegraph)» More

‘Scottish tenor Nicky Spence brings thrilling ardour and emotional angst to Janáček’s passionate outpourings; Czech mezzo Václava Housková joins him as the gypsy girl; Julius Drake handles the piano writing wonderfully, by turns tender and poignant, urgent and explosive as Janáček takes us from the first flush of young love to self-hatred, doubt and a tortured destiny … the Diary burns with anguish, passion … I love it, which is why it's my Record of the Week’ (BBC Record Review)

‘Hugo Ticciati clearly delights in the elusive … so put on the kettle, give this disc a spin, and maybe in under an hour you'll also be booking flights to Kathmandu: whatever Ticciati's drinking, I want some too’ (Gramophone)