‘Ohlsson leaves the best till last. The Op 4 Scherzo, written when Brahms was just 18, has a driving excitement, a febrile quality that is thrilling. And, with his easy brand of virtuosity, he sounds right at home here … Ohlsson is very naturally recorded too’ (Gramophone)

‘[Cardoso's] Requiem is a compelling work, especially when sung with this degree of commitment. It’s a quality that shines throughout the recording. The selection of motets is very satisfying … this is the first recording by Cupertinos for Hyperion and it is a pleasure to have a Portuguese ensemble tackle its native repertory’ (Gramophone)

‘[Clarke's] sonata reveals several new facets when played on the cello, the principal one being the new depth and physicality of the sound world. Clein makes the most of that, with a tonal palette that ranges from thick charcoal-black to muted pastels, beautifully controlled and shaped in the service of Clarke’s ardent musical narrative. The first movement is headed Impetuoso and throughout this disc Clein and Hadland never stint on commitment. In the second movement of Bridge’s wartime Cello Sonata, for example, the transition from uneasy calm to jagged, angst-ridden turmoil and on to soaring, impassioned lyricism is handled with poetry and passion. Clein is never afraid to let you hear the rasp of bow on string, and Hadland, too, knows how to make a climax thrillingly sonorous without overwhelming his partner … the acoustic is lucid, natural and intimate’ (Gramophone)

‘This new release is another in a distinguished series of recordings by this ensemble … Rice and the members of The Brabant Ensemble continue to bring more character to the interpretation of their vocal phrases, including rhythmic vitality, accent, and melodic shaping than other more suave interpreters of Renaissance polyphony. As always, Hyperion has supplied a booklet with a detailed and informative essay by Rice along with full texts and translations’ (American Record Guide)

‘The quieter moments of these songs show Allan Clayton's voice at its best: smooth, tender and altogether alluring: the performance of 'Über allen Gipfeln ist Ruh' is worthy both of the music and of Goethe's famous poem … the performers are alive to the drama in many of these songs’ (BBC Music Magazine)

‘The other major coup is Le lay de confort … a splendid performance, ranking among the best single Machaut songs on records … altogether, this series goes from strength to strength’ (Fanfare, USA)» More

‘Thierry Fischer leads a superb, thoroughly enjoyable reading of Saint-Saëns’s Organ Symphony … there’s tremendous rhythmic vitality and verve in what serves as the scherzo, while the finale has muscle and bite … as well as glory and grandeur … Fischer seems to believe in every note [of La foi], and—as in the Organ Symphony—inspires fiercely committed playing from the orchestra throughout’ (Gramophone)

‘[Garrick Ohlsson] totally won me over with the depth, warmth and power of the performances. It’s big-boned Brahms … but played with such freedom and affection, and it’s a recording that manages to be intimate while encompassing the emotional and dynamic range. Ohlsson’s Brahms is seriously impressive’ (BBC Record Review)

‘Anyone interested in golden age Portuguese polyphony will find much to appreciate here, not just in these well-focused performances but in Toscano’s notes’ (BBC Record Review)

‘This is a fine performance [of the Clarke], an excellent companion for the Bridge, and the extra pieces of Vaughan Williams—his Six Studies in English Folk Song—are the icing on the cake’ (BBC Record Review)

‘It's fascinating to trace the evolution of the choir's sound over 60 years and three music directors … as custodians of a national treasure, the choir takes versatility and tradition in its consummate, unflappable stride’ (BBC Music Magazine)

‘Sung with typical St John's verve and character, this superbly programmed collection will take your Advent listening in unexpected, but entirely apposite, directions’ (BBC Music Magazine)