‘[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)

‘[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)

‘The atmosphere is intimate and confiding; the music presented simply with minimal ornament … Davidson puts the words across gently but with gratifying naturalness … beautifully dispatched’ (BBC Music Magazine)

‘This disc continues The Brabant Ensemble’s laudable exploration of the byways of Franco-Flemish polyphony. Director Stephen Rice brings perceptive musical insights to these accounts, and also sheds light on Févin’s idiom in the excellent CD booklet. His vocal ensemble may be slender but the singing is robust and buoyantly articulated. Boyish upper voices offset velvety tenors and basses, and the relatively close recording perspective produces a sound at once lucid and lustrous’ (BBC Music Magazine)

‘Captured in 2017, while Gowers was still an undergraduate, this recording is an impressive achievement with much fine playing. The organ at King's … has a rich palette of colour and a sense of power when needed. The low reeds growl with wonderful menace in 'Jésus accepte la souffrance' before being overtaken by the movement's resplendent conclusion’ (BBC Music Magazine)

‘The whole reading [of the Mozart] has a pleasing impulse, balance and bloom, while the serene beauty these players find in the last bars of the Larghetto amounts to a mystery’ (BBC Music Magazine)

‘The Passinge mesures roams through England's musical landscape around the time of Shakespeare, John Donne and Sir Thomas More … these works have sometimes been handled as trifles or decorative miniatures, but Iranian-American harpsichordist Mahan Esfahani treats them as profoundly expressive and introspective works. Here measured, there free, his readings highlight the ebb and flow of their poetry and prose; phrases are rhetorically articulated. Esfahani’s muscular technique enhances the robust rhythms of popular dances like the galliard, jig and romanesca, and his response to Byrd’s hexachord fantasy is visceral rather than cerebral’ (BBC Music Magazine)

‘An orchestral colossus’ (Audiophile Audition, USA)