‘What makes this CD distinctive is the smaller pieces. Lovers of Fauré will welcome their inclusion … special praise also for the lovely Tantum ergo Op 65 No 2 for trio (Nola Richardson, Sarah Yanovitch, Mindy Ella Chu) and upper voices. It is a little gem, perhaps the highlight of the recording … notes are informative, performances committed, recording quality high, as we would expect from Hyperion’ (MusicWeb International)

‘The mixed voice Brabant Ensemble has built its reputation on Renaissance sacred music, and tackles Obrecht’s rich, sensuous textures and tangy dissonances with both purity and robustness. The long 'amen' in the motet O beate Basili, on disc for the first time, is especially splendid’ (The Guardian)» More

‘Tippett’s first two symphonies fill a CD comfortably, and here hugely inspiringly, the juxtaposition bringing out interesting links between them, each a grand four-movement structure. The contrast is nevertheless unmistakable: the First (1945) dour, war-torn and contrapuntally severe, albeit energised in true Tippettian fashion; the Second an incandescent masterpiece of 1957, hectically inventive, rhythmically unstoppable and sounding freshly glorious’ (The Sunday Times)

‘[No 1] There is Beethoven-like power here … [No 3] the music’s main attribute is its exuberance … [Trio Concertant] the piano takes off spectacularly in a manner worthy of Liszt at his wildest; … Tim Horton’s considerable skill certainly enhances its value’ (Classical Source)» More

‘A version of The Rite not just technically astounding, but paced and interpreted as well as any of the best full-orchestra performances … a fully realized, perfectly executed vision of the work … if you take your Stravinsky at all seriously, you will need to hear this’ (Classics Today)» More

‘Anybody who has caught Hough in a live recital, or heard his scintillating recordings of Saint-Saëns’s piano concertos, will know how well the sparkling clarity of French music suits him … the triptych of Estampes sets the tone with clear, atmospheric playing, given an extra warmth in Hyperion’s perfectly judged recording … the snowflakes in Children’s Corner fall with the softest delicacy. The delight in L’isle joyeuse is less exhilaration than joy at the radiance of a sun-soaked atmosphere. La plus que lente, played with affectionate simplicity, makes a nicely light-hearted bonus’ (Financial Times)» More

'La variegata materia musicale proposta dalla registrazione è un ottimo campo di prova per le quattro voci dell’Orlando Consort, che si avventurano in questo territorio sonoro con la maestria che caratterizza le loro incisioni. Con un’intonazione e un senso ritmico eccellenti, Matthew Venner, Mark Dobell, Angus Smith, Donald Greig si integrano perfettamente tra loro, dando vita a un equilibrato impasto vocale, frutto di decenni di lavoro e frequentazione del repertorio medievale' (MedioEvo, Italy)

‘Profoundly impressive … the BBC SSO plays superbly under Martyn Brabbins, and the recording captures the dazzling orchestration to perfection … surely music of this quality cannot go ignored forever’ (Classical Source)» More

‘Anticipation ran high for this album. And its beauties are many and varied. Whether it’s the gorgeous delicacy with which he orchestrates the different layers of sound in Estampes’ ‘Pagodes’, the louche sinuousness of La plus que lente … or the tenderness of ‘The Little Shepherd’ in Children’s Corner, there’s no doubt that Hough is largely in his element here.’ (BBC Music Magazine)

‘Hough begins his disc with the Estampes, a vivid reminder that Debussy loved art as much as music, and Hough similarly paints as well as plays. His 'Pagodes' sets the scene with just the right degree of blurring of the lines, motifs emerging and then receding once more, all combining to ethereal effect. In the closing 'Jardins' his pacing is spot-on’ (Gramophone)

‘Fresh, thoughtful and committed interpretations shot through with poetry and alertness’ (Gramophone)

‘A terrific disc that I encourage everyone to buy’ (Gramophone)