‘[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

‘Only a handful of [Obrecht's] splendid works have been recorded before—and most on this disc are new to CD. Luckily, too, this recording benefits from the New Obrecht Collected Works and from the expert researches of Rob Wegman … the performers manage to give these ‘dark meanderings’ some shape and purpose with contrasts of mood (a reflective ‘Qui tollis’ and a lively ‘Et resurrexit’), vigorous interplay between the voices (the opening of the Gloria), and some surprising musica ficta harmonies (‘sepultus est’ from the end of ‘Et incarnatus’). They are at their most splendid in the motet O beate Basili … and in the soaring heights of the ‘o pia’ section of the Salve Regina’ (BBC Music Magazine)» More

‘Piers Lane, who brings his customary flair and lyrical refinement to the first two movements of Op 151, turns the Rondo finale into a brilliant tour de force that will delight even the sourest of atonalists’ (Gramophone)

‘Hough’s playing is utterly captivating and intensely intimate. He’s a magician, a tease, and a brilliant performer who creates an intoxicating dream world of pianistic expression … this fabulous CD is going to get a lot of play’ (The Whole Note, Canada)» More

‘This is a very beautifully planned complete Brahms … what I like about this particular one is [Graham Johnson's] focus on the Mediterranean Brahms, which is is probably the Brahms we know least’ (BBC Record Review)

‘Does it matter that many others have also recorded [D960] and others are waiting to record it in the future? I don’t think so, because the music is there to be played and this recording will enter the great catalogue of Schubert recordings to give pleasure to listeners … there’s an eloquence and sensitivity in Hamelin’s approach to this music which is satisfying and committed’ (The Cross-Eyed Pianist)

‘The biggest gain is Roderick Williams's fabulous delivery and his beautiful, creamy voice—which I can never get too much of—supported beautifully again by Christopher Glynn … musically it's great … [Jeremy Sams] has done an extremely good job of a very, very challenging task … I salute him for his courage’ (BBC Record Review)