‘Under Lumsden’s inspired direction, the singing amplifies the certainties of Tavener’s faith, his unshakable belief speaking volumes (almost literally) in the arresting organ entry of God is with us, with a text adapted for Christmas Eve from the Orthodox Great Compline. Its emotional impact from boys and men is totally convincing, as is the authoritative singing of William Kendall … a great job also from engineer Andrew Mellor who has harnessed the Cathedral’s acoustic to enhance the music’s simultaneous momentum and stillness, chords floating around untethered and timeless, an intensity truly mesmerising … the dancing rhythms of ‘O Mary Theotokos’ bring a final demonstration of this Choir’s empathy with a composer who has immeasurably enriched Winchester Cathedral’s spiritual life’ (Classical Source)» More

‘Last year I gave a warm welcome to the new version of Tippett’s first two symphonies under Martyn Brabbins. Now in a convenient two disc package come not only the remaining two numbered symphonies, but also the first recording of Tippett’s earliest, unnumbered attempt at the form … this release, together with its predecessor, can now take its place as the standard recommendation for Tippett’s symphonies, and they deserve every success’ (MusicWeb International)» More

‘This superb Hyperion issue is Cédric Tiberghien’s first foray into Liszt, and he has gone in at the deep end … the recording makes clear the consistency of Tiberghien’s control of focus and tonal range, but it is more the ease with which he gets beneath the surface of these troubled, elusive pieces that makes its mark with a strong illusion of improvisatory directness … this release is as much to do with Tiberghien’s marvellous playing as with his acutely tuned intelligence and artistry—this really is music from the edge’ (Classical Source)» More

‘The Organ Symphony gets off to a splendid start, the orchestra’s instinctive muscularity tempered by Fischer’s engaging Gallic fluidity. His attention to detail creates a vivid, liquid sense of ensemble. The Poco adagio is stretched into bewitching passages of long-breathed poetry, Paul Jacobs’ gentle introduction of the organ a thing of beauty. The finale is wondrous, the soaring tune at its centre a clarion call. Recorded live in the accommodating acoustic of Abravanel Hall, this finely recorded disc benefits from not a hint of distracting noises-off’ (Limelight, Australia)» More

‘It’s a tribute to Steven Isserlis and Olli Mustonen that it’s hard to imagine more thoughtful, well-prepared performances. Yet this is also playing in which everything is ‘in the moment’. Every vivid emotion—passion, anguish, hysteria, vivacity, despair—makes its mark. Mustonen brings a composer’s sensibility to his work, and a deep knowledge of these musical worlds from his other life as conductor. Isserlis is en pointe throughout—this is a tremendous partnership’ (Limelight, Australia)» More

‘A key work in Elgar’s development towards the genius that soon was to produce Gerontius and ‘Enigma’. It also contains a significant amount of very good music in its own right. This very fine performance enables us to appreciate its stature’ (MusicWeb International)» More

‘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)