‘Rare music, well worth exploring … you may not see its like again’ (MusicWeb International)» More

‘These are thoughtful performances showing the use of period instruments to great advantage’ (Classical Source)

‘While the Tallis Scholars respond to the more sober intricacy of the Gaudeamus setting with their customary precision in all matters choral, it's in the secular-derived Mass where they really excel, responding to Josquin's weaving, diving, swirling lines and audacious, bold harmonic movements with obvious enjoyment. It's an outstanding performance, and bodes well for the remaining two instalments of the Josquin journey’ (Early Music Today)» More

‘As ever, Peter Phillips and his singers bring confidence and elegance to Josquin’s music … interpretative gestures are subtle but flowing … this disc is surely one of their best recent releases’ (Gramophone)

‘As ever, The Tallis Scholars sing all the music on this disc flawlessly. However, what we hear is far from calculated ‘mere’ perfection. The singers, responding to Peter Phillips’ direction, bring these Masses vividly to life. The ensemble has been recorded expertly by engineer Philip Hobbs. He’s long experienced in recording The Tallis Scholars in the acoustic of Merton College Chapel and it shows. The acoustic is ideally suited to music and performances such as these and the singers have been recorded with great clarity and just the right amount of ambience. As usual, the release is comprehensively documented. This is another memorable issue in The Tallis Scholars’ Josquin series’ (MusicWeb International)» More

‘A willingness to take risks, however, has always been integral to [Clayton's] singing, and the dividends are often enormous … there are also wonderful moments of lyrical reflection, though, and the way he sings ‘Du bist wie eine Blume’ with a poised mezza voce is breathtaking. Drake, meanwhile, invests every phrase with weight and meaning, and is, as ever, outstanding. Another fine disc in an exceptional series’ (Gramophone)

‘Machaut's vocal music has had no better advocates than the Orlando Consort, who have released six superb albums of his works, and continue to bring life to his intricate and intrinsically difficult music … the high quality of this 2018 release gives hope for the continued success of this project’ (AllMusic, USA)» More

«Les 3 virelais chantés à une voix (2, 5, 7) sont magnifiques de simplicité, de clarté, de pureté cristalline. La reprise du refrain n’y est jamais simplement perçue comme un retour du même, mais comme le surgissement réitéré d’un moment impalpablement neuf. Dans les pièces polyphoniques une magie entêtante se dégage des voix qui accompagnent ou glosent avec leurs mélismes la ligne principale» (Clic Musique, France)

‘Altogether, this is a welcome introduction to a composer of impressive achievement and considerable promise. Layton and his crack team of singers have done their colleague and friend proud’ (BBC Music Magazine)» More

'Steven Osborne is een pianist die alles aanpakt. Zijn concertprogramma's dit jaar vermelden naast Debussy, Messiaen, Ravel en Prokofjev ook Schubert, Beethoven en Brahms. Wat hij doet is steeds heel aanwezig, heel concreet, fors, indrukwekkend en krachtig maar met gelukkig hier en daar een teder pasteltintje' (Luister, Netherlands)» More

‘Steven Osborne has already shown his feeling for Rachmaninov’s music in recordings of the Preludes and the Second Sonata, so it is no surprise to hear him give such idiomatic accounts of the Études-tableaux. The sheer polish of his technique is remarkable, approaching the patrician nonchalance of Rachmaninov himself—indeed, appearing at times to exceed him’ (BBC Music Magazine)

‘The notorious difficulties of the solo writing seem to present no problem to the agile and sonorous pianism of the young Russian virtuoso Gerard Aimontche, while the American conductor Roderick Cox unfolds Rachmaninov’s leisurely and discursive continuities with a firm hand. Cox also offers a forthright performance of the Sibelius. His must be among the most electrifying accounts in the catalogue of its strange dramatic scene of a second movement … an encouraging marker of an orchestra on the rise’ (BBC Music Magazine)