‘The truth about these late works of Feldman is that there are very few poor performances on disc because, first, the music leaves little room for interpretation in the conventional sense, and second, no one attempts them unless they really know what they are doing. Hamelin certainly knows. Hyperion’s excellent sonics suit the piece beautifully’ (Classics Today)» More

‘It’s the clarity of touch, and the honed rendering of Chopin’s bustling textures, which make Tiberghien’s Préludes worth the time … the final work, the B Flat Minor Scherzo Op 31, is a perfect summation of the whole program: lyricism, drama, frenzy, and charm, which Tiberghien carries off with elegance and consummate artistry’ (Limelight, Australia)» More

‘A recording which achieves an ideal balance between scholarship and direct emotional impact … the 28 players and 19 voices listed as constituting Arcangelo sound for all the world here as if they are at least double that number, so full and robust a sound they all make in the excellent recording’ (MusicWeb International)» More

‘Hyperion is to be congratulated on such a fine production, as is David Hill and his musicians’ (MusicWeb International)» More

‘Stephen Layton brings everything together expertly. I thought his tempo selections consistently felt ‘right’. His preparation of the choir has clearly been scrupulous and detailed yet, just as significantly, he has imbued them with the spirit of the music so that the joy and the profundity of Bach’s music comes across in equal measure. The catalogue contains many fine versions of the B minor Mass … this is one of the freshest and most enjoyable’ (MusicWeb International)» More

‘This is a decidedly Beckettian Winterreise, subtly pushed to the edge by Vignoles’s pianism—the neutral pace he sets of ‘Gute Nacht’ is just one instance of the skill with which he keeps things in reserve, so that there is a constant frisson of the unexpected, and throughout he cajoles and comforts the singer while exposing the reality behind the lover’s increasingly desperate hallucinations. Between the two of them, Boesch and Vignoles manage to keep a purchase on the cycle that is both unaffected and extraordinarily sophisticated’ (Classical Source)» More

‘There is no doubting Howard Shelley’s superbly stylish and dynamic playing, his score-serving virtuosity and sensitivity a marvel on its own terms; and his direction of the BBC Scottish Symphony Orchestra brings tight-knit ensemble and much responsiveness, admirably recorded’ (Classical Source)» More

‘We’re treated to lively tempos, exemplified in the Cum Sancto Spiritu, … unusually transparent textures (you hear every voice, every instrumental line in the opening Kyrie, for example), first-rate soloists, and one of the more articulate and singer-sensitive orchestras you’ll hear in this music … as one who’s revisited more than a dozen recorded versions of the B minor Mass while preparing this review, my conclusion is that this one offers stylistically sound, true-to-Bach performances that are both modern yet historically informed, whose interpretive point of view and technical details will stand the test of time—and whose choral vocalism is a marvel’ (Classics Today)

‘Layton’s Bach is rightly prized for its clear-headed vision and lack of eccentricity. He has a fine team of soloists: Katherine Watson and Helen Charlston’s bright voices blend ideally in the Christe eleison, and Gwilym Bowen and Neal Davies are both stalwarts in their solos. But it is Iestyn Davies’s singing of Qui sedes that takes this release into the realms of greatness. The OAE, with trumpets and drums in full cry in the Gloria, Osanna and Dona nobis pacem, make a splendid sound. Highly recommended’ (The Sunday Times)» More

‘Is there more gladdening, life-enhancing piano music than that of those later 19th-century Spaniards Albéniz, Granados and Falla? Ohlsson’s lovely, spirited accounts of a judicious selection from Falla’s output for the instrument make for a seductive disc. Opening with the unforgettably characterised Cuatro piezas españolas, and closing with the brilliantly terse Fantasia Baetica, the album also has the compelling Homenaje 'Pour le tombeau de Claude Debussy'’ (The Sunday Times)

‘If you needed an aural demonstration of how the musical tectonic plates were shifting in the years spanning JS Bach’s arrival in Leipzig and the emergence of the young Mozart you would be hard pressed to find a more illuminating disc than this latest offering from Arcangelo … Cohen plays the theatricality of the JC Bach to the hilt, while acknowledging the homage to JS in the opening of CPE’s setting’ (BBC Music Magazine)» More

‘Katherine Watson, already a busy soloist, has a delightful baroque soprano voice … but it is Iestyn Davies who serves up this recording’s jewel in his first recorded Agnus Dei, a masterclass in technique, vocal beauty and moving musicality that it is hard to imagine surpassed … this is a fresh and attractive B minor Mass, with plenty in it to enjoy’ (Gramophone)