‘This ‘Moonlight’ teems with insight and ambiguity, and leaves an indelible impression that deepens with each listen … an atypical and revealing portrait of the first half of Beethoven’s career, in what is a thoughtfully planned and perfectly executed recital. In short it’s yet another exquisite piano disc from Kolesnikov and Hyperion’ (MusicWeb International)» More

‘Pianist Julius Drake’s survey of the complete songs reaches its fifth volume with this recital by English lyric tenor and vocal actor Allan Clayton, mainly featuring the late songs from Liszt’s Weimar years (1848-61). The disc opens with two contrasting settings of Goethe’s ‘Freudvoll und leidvoll’ and other highlights include ‘Die Lorelei’, a reflective ‘Du bist wie eine Blume’, the brilliance of ‘Comment disaient-ils’, and the challenging ‘O lieb, so lang du lieben kannst’. The haunting ‘Ich möchte hingehn’ resembles the opening motif of Wagner’s Tristan und Isolde and it is claimed that Liszt wrote it ten years before Wagner started work on Tristan in 1857. Allan Clayton is in fine voice and Drake is outstanding in this latest edition of Hyperion’s exemplary series’ (New Classics)

‘Quite apart from the radiance and precision of the performances, part of the delight of this latest Josquin is the contrast between the two mass settings; the intense, mathematical ingenuity of Missa Gaudeamus alongside the calmer, simpler setting of Missa L'ami Baudichon … recorded excellence comes as standard with this series’ (BBC Record Review)

‘The Tallis Scholars sing these two masses in their own profoundly beautiful style, the individual lines blending and balancing, with finely shaped phrasing. It is a real joy to listen to. Of course, there are many other ways to perform this music, and that we know so little means that any sense of original performance practice must be an educated guess. On this disc, we simply enjoy the musicianship’ (Planet Hugill)» More

‘The most civilised music, delivered with immaculate technique, urbane humanity and perfect period manners’ (The Sunday Times)» More

‘Founded by their director, Peter Phillips, in 1973, the Tallis Scholars still ride high among small vocal ensembles—lithe, pure-sounding and vigorous as ever in performance of Renaissance polyphony. Their latest disc of Josquin’s Missa Guadeamus and Missa L’ami Baudichon exceeds expectation. These two sharply contrasting works, one bristling with mathematical patterns, the other based on a vulgar popular song, comprise the seventh of nine albums in The Tallis Scholars’ series of Josquin’s 19 highly distinctive masses, to be completed by the composer’s 500th anniversary in 2021’ (The Observer)

‘The Tallis Scholars give shapely performances under Peter Phillips of two Mass settings by the Renaissance master Josquin des Prez. Missa L’ami Baudichon, based on a vulgar folk song resembling Three Blind Mice, makes optimal use of limited means. By contrast, in the mature Missa Gaudeamus, the composer plays dazzling canonical games with his chant model, to often stunningly beautiful effect’ (The Sunday Times)

‘The singing is technically assured and full of warmth; these performers know their stuff and want to share it with us … impeccably recorded, with full texts and translations too’ (TheArtsDesk.com)» More

‘Everything Clayton has is at the expressive service of Liszt and his poets, and the whole recital is a fine addition to Hyperion's complete edition of Liszt songs’ (BBC Record Review)

‘The Mozart is utterly persuasive, with Bliss's pure tone and control of dynamics allowing him to dovetail beautifully with the string players … it's the Record Review Disc of the Week’ (BBC Record Review)

‘A recital that makes merry with any perceived limitations of early keyboard instruments … a seemingly inexhaustible supply of colour, dramatic potential, joyfully expressive variations of tempo and articulation—and the recorded sound displays Esfahani’s flair and the instruments’ range with immersive realism. He sounds as though he’s having a wonderful time … an outstanding harpsichord recital in every way—don’t leave it to the historic keyboard fanatics!’ (BBC Record Review)

‘Isserlis’s insistence on an 1851 Érard piano lends this recording its distinctive atmosphere and rebalances the score, the sinewy cello ideally matched to a slightly brittle piano … feverish dynamism is contrasted with moments of exquisite poetry … in [Schubert’s] Sonata, the duo offer graceful transparency, lithe refinement with a compelling edginess … spellbinding’ (BBC Music Magazine)