‘The players are in prime storytelling mode, painting in dark but clear colours, conjuring up the landscapes of the Kalevala, the Finnish national epic. Dausgaard has the measure of this music, with its slow, tick-tocking, inextinguishable pulse, its sense of fast movement against vast immobility: a bird skimming low across a Nordic lake. There’s a crackle of excitement every time he shifts up a gear and the orchestral cogs find their groove’ (The Guardian)» More

‘Howard Shelley brings Johann Baptist Cramer's piano music to life with the London Mozart Players in this new recording, Cramer's Piano Concertos Nos 4 and 5. Of his eight piano concertos, these give Shelley the opportunity to show off some of his piano playing skills in intricate and expressive passages. This recording features not only a flawless performance by the soloist, but the London Mozart Players too’ (Classic FM)

‘As in The Binchois Consort’s other recent CDs, the booklet is adorned with beautiful coloured photographs of medieval alabasters … The Binchois Consort consist for this recording of two altos and four tenors. They have a superb blend, and always seem to judge tempi perfectly’ (MusicWeb International)» More

‘All of the works were recorded in the warmly resonant King’s College Chapel, with Cleobury conducting the beautifully shaped choral performances … it’s altogether a fine collection of unfamiliar music’ (The Guardian)

‘This is an excellent introduction to the choral compositions of Sir James MacMillan, covering as it does selections from both his sacred and secular output. While I am happy to recommend this as an introduction for listeners who have yet to make the musical acquaintance of the leading Scottish composer of his generation (he was born in 1959) I am sure there will be plenty to interest those already familiar with his works’ (Cross Rhythms)

‘This is a disc of mainstream, conservative Anglican music, yet also of works which have stayed in the repertory as they are cracking good ones … here too are consistently cracking good performances from WAC with a generous measure of clarity, sensitivity and, where appropriate, drama’ (MusicWeb International)

‘Osborne's recent release of Beethoven's final three piano sonatas on the Hyperion label packs a powerful emotional punch through technical command, delicate subtleties and sheer strength … Osborne has us in the palm of his hand for each of these meaningful journeys, generously sharing the essence of Beethoven's genius’ (WPR, USA)» More

‘This latest instalment is a winner … throughout, Linus Roth is the master of his craft, at one with the three Concertos, and benefitting from alert and sympathetic support from Antony Hermus and the BBC Scottish Symphony Orchestra, all rounded by Andrew Keener’s exemplary production and Simon Eadon’s first-class sound’ (Classical Source)» More

‘A project delivered with McCreesh's customary attention to detail, ranging from sourcing appropriate timpani to calculated spatial effects such as the Regalia Procession heard moving through the distant cloister. It's a labour of love and sounds it … vivant the Gabrielis—not forgetting the massed 250 young singers of their outreach 'Gabrieli Roar' (BBC Music Magazine)

‘One can imagine the virtuosity required by every contributor, at every turn, to make this a reality, let alone a dazzling triumph. The documentation is comprehensive and satisfying’ (Gramophone)

‘The revelation for me was Stanford’s powerful response to the unfolding carnage of the Great War, his 1915 anthem For lo, I raise up. Beneath the superficial swagger lies one of his most inspired works. The choral singing here is breathtakingly good … the expert craftsmanship of these three composers has been truly well served by James O’Donnell and his wonderful musicians’ (Gramophone)

‘Osborne plays the variations of Op 109 with refinement, letting them grow to majestic proportions before returning to the cantabile simplicity of the theme. And he takes Beethoven's marking 'con amabilita' as his cue for the first movement of Op 110, playing with such restraint that it feels as though lost in a dream—then letting the earthy energy of the drinking song crash in as a rude incursion. The rest of this Sonata comes in carefully-calibrated chiaroscuro as Beethoven's colourings modulate from subfusc greys to a final blaze of light. After a mighty and full-blooded account of the Op 111 Allegro, he gives both the jazziest performance of the variations I have ever heard, and also one of the most heart-stopping in their ultimate finality’ (BBC Music Magazine)» More