‘A wonderful addition to what is already one of the finest discographies of choral music to have appeared in the last ten years. Its theme is different shades of light in music, from the emergence pf the radiant dawn of the album’s title, to the ghostly terrors of a bitter and dark night on the battlements at Elsinore. Musically, there are two noticeable binding threads: plainchant, either as integral part of a composition or as an inspiration, and the superb trumpet playing of Matilda Lloyd, who joins the singers in many of the works. There are two new pieces especially written for the album and they sit extremely well with the other carefully chosen selections … [Burgon's Nunc dimittis] is the best way imaginable to bring this fantastic recital, excellently recorded in All Hallows Gospel Oak, to a close’ (MusicWeb International)

‘Hopefully, the 21-year-old Korean sky rocket Yunchan Lim will never outgrow the key attractions of his piano playing. Take his delicacy, audible in his phrasing and variety of touch and dynamics; qualities abundantly displayed in his second solo album, devoted to Tchaikovsky’s cycle The Seasons … whatever the attraction—March’s fragile hesitations, August’s hurtling momentum, October’s melancholy—the listener should be enthralled by the feelings and colours embedded in Tchaikovsky’s modest character pieces’ (The Times)

‘Now, it seems, Lim feels it is time to reveal a more expressive, intimate side to his playing, and indeed it’s hard to imagine anything more different from the Chopin and Rachmaninov than Tchaikovsky’s suite The Seasons … Lim’s playing is, as you would expect, exemplary’ (The Guardian)

‘The spacious recording acoustic of the London Notre Dame church lends numinosity to the singing and director Charles Cole’s note stresses that the choir’s purpose is primarily liturgical … the long lines of Peccantem me quotidie are impeccably tuned and sustained and the joyful Tu es Petrus makes a highly satisfying conclusion to a fine recital’ (MusicWeb International)» More

‘Wonderfully effective choral writing across four centuries, beautifully blended sound, the recordings as sonorous and radiant as the singing as they explore different shades of light in choral music from the golden glow of a summer evening to shimmering moonlight on calm waters … another outstanding concept album from The Gesualdo Six’ (BBC Record Review)

‘No fewer than twenty-four different swans in music, ranging from the Saint-Saëns original, to Tchaikovsky’s Swan Lake; diversions via Orlando Gibbons’s The silver swan, Schubert’s Ein Schwanengesang, Grieg, Szymanowski and their own compositions. It’s a delight, really—lovely arrangements’ (BBC Record Review)

‘Cultivated performances, graced with discernment along every axis: colour, dynamics, rubato, articulation. It will surely appeal to those looking for an even-tempered, unexaggerated middle ground between the forthright big-boned approach found, say, in Emil Gilels’s 1954 Paris K570 and the edgy HIP playing of Robert Levin … the engineers have captured the elegance of [Hewitt's] tone to perfection’ (Gramophone)

‘A golden release for a golden milestone: Angela Hewitt reaches her 50th album for Hyperion Records with this final volume in her series of Mozart's complete piano sonatas. The Canadian pianist is on typically engaging form, full of nimble agility, lightly-worn intelligence and musical sensitivity. It's also a thoughtful programme, with shorter pieces tucked among the five final sonatas and a sparkling performance of the Variations on Ah vous dirai-je, maman’ (BBC Music Magazine)

‘If Steven Osborne, who is now 54, never recorded another note, his large and varied discography would be the envy of many a pianist. His latest release returns to Schubert, mining a vein that has already yielded riches … here [the last movement of D959], as in the first movement, voicing is exquisite, with the overall sonic terrain sculpted and proportionate. When the presto coda appears like a bolt from the blue, its neat summation leaves one wishing for even more of this spacious rondo. The Moments musicaux speak with a morning freshness throughout, each imbued with its own unmistakably individual identity’ (Gramophone)

‘In the booklet, Charles Cole writes: 'The Schola is at its heart and purpose a liturgical choir, and we present this recording as an insight into the liturgical life of the London Oratory, where this music can be heard in its proper context.' This is one of the recording’s strengths. For the singers, this repertoire is their daily bread. This means that they are completely familiar not only with the style, but also with the content and liturgical function of what they sing. After all, this music is not intended for the concert hall, but for the liturgy. From that perspective, these performances are highly ‘authentic’ … this excellent choir demonstrates the positive effects of this. It is somewhat less well-known than the choirs of King’s and St John’s Colleges or the Westminster choirs, but it is in no way inferior. This is the fourth recording of this choir on Hyperion, and each of these recordings demonstrates its quality. They sing with enthusiasm and commitment, and the character of each piece comes off perfectly’ (MusicWeb International)

‘The Gesualdo Six, British male singers of ineffable vocal beauty, make such beguiling sounds on their own that any instrumentalist risks becoming an unwanted interloper—even, as in this case, the spirited trumpeter Matilda Lloyd. She’s featured in just over half the tracks of this mostly contemporary programme, and in two of them—Judith Bingham’s Enter Ghost and James MacMillan’s In splendoribus sanctorum—the trumpet flourishes are genuinely thrilling … the good things easily dominate in an anthology committed to exploring ‘different shades of light’, from summer sunshine to the 'radiant dawn' of Christ’s birth, celebrated in another vocal wonder by MacMillan. Given the jumping between centuries, the mix of music old and new works very well, eased on its way by the unchanging artistry of the Six themselves: two countertenors, two tenors, one baritone and one bass, who sing with such commitment, polish and verve’ (The Times)

‘This is a rendition of the Dvořák that is supremely thought through and prepared: there are layers of activity for the ear to focus upon that one doesn’t always encounter in this piece. Add to the mix the exceptional musicianship on offer in both works and you’ve got an album that, on so many levels, is simply a joy’ (The Arts Fuse, USA)