‘Hamelin is in complete control of direction and his is a compelling and thought-provoking view of this large-scale work … there are some wonderfully expressive flexibilities and dynamic contrasts to be heard—from bittersweet resignation to powerful stoicism … his technique may be luxurious but it serves only his insightful and individual musicianship … this release has strong claims on the Schubert collector’ (Classical Source)» More

‘The way Hamelin weights the repeated notes and spins the phrases; the subtle rubato; the rounded timbre he coaxes from the piano; the carefully graded dynamics and slightly ominous soft trills that interrupt the calm—if you warm to this as I have then you'll want to hear the rest of the performance … the second set of Impromptus is a major bonus’ (BBC Record Review)

‘As with previous volumes the recording for this release is of superlative quality and perfectly balanced … Alina Ibragimova and Cédric Tiberghien bring us a poetic and playful Mozart that suits the present day very well indeed’ (MusicWeb International)» More

‘Pavel Kolesnikov brings vitality, meaning, and stylish aplomb to this music ... not since Marcelle Meyer’s classic 1953 Rameau recordings have I heard French Baroque keyboard music befit the modern concert grand so naturally as on this remarkable release’ (Classics Today)» More

'Ascoltare lo splendido mottetto Salve Regina posto all’inizio di questo disco per rendersi conto del suo valore … grazie al Brabant Ensemble, consort vocale inglese specializzato nella interpretazione della musica sacra dell’epoca d’oro dell’arte franco-fiamminga, questa messa e il mottetto O beate Basili sono stati registrati per la prima volta e sono una ulteriore dimostrazione del magistero del musico guantense' (Giornale della Musica, Italy)

‘There's absolutely no lack of dramatic impact … the Bergen players rising to those exultant climaxes, and Manze is excellent at delivering the calmer beauty of the 'Serenade' … the balance between solo viola and orchestra is close to ideal, I think, well-integrated, not too soloistic … good sound’ (BBC Record Review)

‘[Iestyn Davies] discharges a beautifully inflected 'Qui sedes', impeccably warmed and coloured by a discreet vibrato that instinctively knows its expressive place. Neal Davies’ resonant 'Quoniam tu solus' is egged on by the gravelly chuckles of bassoons and roistering French horn, while Katherine Watson’s soaring soprano also strikes up an alluring partnership with Iestyn Davies for the 'Et in unum Deum'. One of the challenges for any conductor is marrying the Mass’s old-fashioned and up-to-the-minute elements while forging a coherent whole. Layton is on the case’ (BBC Music Magazine)» More

‘Howard Shelley is his usual reliable self, making light of technical difficulties, and breathing life into neglected corners of the repertoire … it isn’t hard to understand why Schumann welcomed Bennett with open arms’ (BBC Music Magazine)» More

‘Kolesnikov flips from idiomatic ‘clavecinist’ to romantic pianist and back in the blink of an eye … make no mistake, there’s fine pianism aplenty’ (BBC Music Magazine)

‘Fretwork can be expected to present [Jenkins] in a shining light, and they do. In an acoustic that is intimate but never starved of air, they render the part-writing with vivid clarity, each line sweetly singing, while functioning as a superbly balanced unit that can dance to the folk-like liveliness of Fantasias Nos 6 and 14 as readily as they can find the sonorous depths in No 9 or the pavans … a fine and worthy release.’ (Gramophone)

‘As with previous volumes, the programming of this series is deeply impressive … the Orlandos project and enunciate Machaut’s French so well that one rarely reaches for the printed text. As to the vocal quality, the Orlandos’ house style is flexible enough to accommodate a full-throated approach, as in the polytextual pieces, where the individual voices seem to compete for attention’ (Gramophone)

‘This revelatory series from Alina Ibragimova and Cédric Tiberghien benefits from offsetting works of Mozart’s middle-period and maturity with some of his earliest compositions … their combined musical imagination feels so intertwined that it emerges seemingly as the natural extension of a single interpretative personality … so keenly attuned are Tiberghien and Ibragimova to each other’s musical proclivities, that at the point of contact it is difficult to imagine this score being played any other way’ (BBC Music Magazine)» More