‘Highlights include the delightful Woodland Interlude in which 'the trees are singing my music', the love-duet of Eigen and Orbin, and the splendid Imperial March that opens the final scene’ (New Classics)» More

‘Elgar’s Caractacus is now (finally) elevated … an absolute treat … throughout Brabbins sets perfectly judged tempos, the music journeys forward with a palpable sense of drama and occasion yet also with a persuasive flexibility, the big moments relished and with many subtleties of scoring and dynamics arresting the ear’ (Classical Source)» More

‘The recorded sound effectively captures not just the Winchester ambience but the timeless beauty of Tavener's music’ (BBC Record Review)

‘This disc showcases eight exceptionally fine voices … there is something both compelling and endearing about the delicacy and purity of tone these singers bring to these works. Intricate contrapuntal lines are traced with disarming clarity, while the passages of brisk and lively articulation are delivered with impressive precision … captured in a very fine recording, this is a disc which gives Bach’s vocal music a particularly fresh-faced and openly sincere quality’ (MusicWeb International)» More

‘Gerhardt’s readings take account of historically-informed-practice, but they are not confined by the straightjacket of any received tradition; rather they irradiate a quiet freedom that is devoid of rhetoric … by diligently attending to what are the fundamental aspects of any musical performance—rhythm, tempo, and timbre—Gerhardt exacts a more thoughtful and compelling realisation of this music than many others who seek to make bolder or eccentric statements with it, and for that reason stands out in a competitive field’ (Classical Source)» More

‘Kudos to these musicians for continuing to explore the piano trio repertoire’s obscure yet worthy nether regions with their customary care and commitment’ (Classics Today)

‘Thierry Fischer leads the Utah Symphony in a very respectable performance of Saint-Saëns’ ever-popular [Symphony No 3] … the scherzo is quite wonderfully sharp and clear, and the finale suitably grand but never too heavy. Excellent engineering certainly helps, with Paul Jacobs’ organ intelligently balanced and well-integrated into the sonic framework’ (Classics Today)

‘[Shelley] makes the very best of the many tunes which are often very original and show off the pianist’s virtuosic technique splendidly, recorded in focus, and in all this release represents a worthy tribute to an interesting group of neglected composers’ (Classical Source)» More

‘The results are simply beautiful. It’s a set that easily holds its own in a very competitive field’ (The Whole Note, Canada)» More

‘Gerhardt can sound deliciously at ease in this music, whether moving with swift grace through a Sarabande or skipping with jaunty assurance through a Menuet or Gavotte. And his sound is glorious—a silvery tenor register (especially in the high-lying Sixth Suite) capping an overall tone that is rich without ever being overbearing … in his own personal way Gerhardt is no less a master’ (Gramophone)

‘What a welcome sight it has been for a second disc from Decca’s young Dutch recorder champion Lucie Horsch to cross my desk … the first thing to praise here is that she and Decca waited a couple of years before recording this sequel, because that time and space for her to further develop and mature has reaped its rewards in these interpretations: her technique was always immaculate and her tone lively and clear, but there’s been a clear growth in naturalness and confidence … along with a stylistic variety that has allowed Horsch herself to shine in numerous directions’ (Gramophone)

‘To say it immediately, it is a test that the new line-up passes with flying colours. Of course these are not the players who appeared under Pierre Monteux in 1962, or (one assumes) mostly under Colin Davis in 1973, but the work and its style—especially the virtuosity and panache required—have clearly remained in the orchestra’s collective memory. There is impressive and fluent instrumental work here, nowhere more so than in tricky rhythmic passages for strings and brass … definitely recommended’ (Gramophone)