‘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)

‘Dubbed 'the national team of Portuguese polyphony', Cupertinos' debut disc showcases their fellow countryman Manuel Cardoso (1566-1650). Beautifully sung by unaccompanied voices, this programme of devotional music is built around the contemplative Requiem’ (BBC Music Magazine)

„Das Ensemble Cupertinos unter Luís Toscano widmet sich vornehmlich dem Erbe portugiesischer Musik des 16. und 17. Jahrhunderts und legt hier eine äußerst sensible Interpretation der Werke Cardosos vor … Fazit: Eine willkommene Aufnahme mit einem auf der europäischen Musiklandkarte selten vertretenen Komponisten“ (Chorzeit, Germany)» More

«Dénes Várjon et Steven Isserlis livrent une lecture chambriste, dont le caractère nostalgique … interprété d’un archet à la pudeur et à la tendresse infinies, dont les accents quasiment schubertiens font le lien avec la célèbre Sonate pour arpeggione et piano de Schubert, nimbée de couleurs automnales, entre l’ombre et la lumière» (Classica, France)» More

‘For me the highlight is the Passacaglia, whose combination of complex counterpoint and a thrilling, apparently improvisatory style make it fully worthy of concert-hall rehabilitation … Roscoe brings a touch of grace à l’ancienne to the more lyrical movements [of the Suite in the olden style] while not holding back from suitably Romantic expressivity for the six Op 41 pieces, in particular the poignant final movement, ‘Cloches’. As always, he shines in the layering of Dohnányi’s expansive, quasi-orchestral textures, responding astutely to rhapsodic changes in moods and colours. In short, an eloquent conclusion to a reliable and revealing series’ (Gramophone)

‘Martyn Brabbins, a true specialist of late Victorian repertoire … brings an electricity and Straussian Schwung to the orchestral sound throughout this recording, whether in the vibrant marches of scene 1 (‘Watchmen, alert!’), the processional march of scene 4 (the best-known part of the cantata) or the delicious ‘woodland interlude’ … there are some fine performances here from the soloists … the well-prepared Huddersfield Choral Society, appropriately attuned to their role as turba, provide a range of sensitive light and shade, as well as muscular tone, to the varying dramatic contexts, and a crisp counterpoint to the orchestra’ (Gramophone)

‘Throughout this programme the St John’s College choir is on top form and I admire very much the way they can deliver a programme that mixes such a great variety of musical styles. Andrew Nethsingha has clearly prepared them expertly and I congratulate him not just for this but also for the perceptive and interesting programme he has chosen … it would be hard to imagine a finer celebration of the 150th anniversary of St John’s College Chapel’ (MusicWeb International)