‘Marc‑André Hamelin provides fresh insights into this work, a cohesive vision with a decidedly refined sensibility and evidence of decades of practice and reflection. This is a worthy addition to any collector’s library’ (ConcertoNet, Canada)

‘This is another super release from The Brabant Ensemble under their founder Stephen Rice to add to their growing and estimable back catalogue. I hope the project gets the success it deserves’ (MusicWeb International)» More

‘Isserlis plays ravishingly throughout this recital. His tone is as luminous at the bottom as it is up top (and Boccherini spends a lot of time in the stratosphere). Although he’s partnered in the concertos by members of the OAE, Isserlis is no slave to scholarship: there’s plenty of vibrato in the solo line, and the result is wonderfully engaging … if you already love Boccherini, you’ll be more convinced than ever that he’s a master. If you’re a sceptic: well, prepare to be seduced’ (Gramophone)

‘A finely crafted work from a composer who has an unforced, explorative post-romantic sensibility. Ngwenyama is herself an award-winning violist, and her feel for the medium and its instrumental interplay is clear from the opening 'Prelude: Tear in space/time’ … the Takács respond in turn with gentle vigour. Their performance is supplely committed, and laudably allows the music to breathe’ (BBC Music Magazine)

„Sorgfältig zusammengestellte Programme und exquisite sängerische Darbietungen—das sind die Markenzeichen von The Gesualdo Six … intensiver, schöner und besser kann man die Lieder kaum singen“ (Fono Forum, Germany)

„Gerade mal zehn Jahre alt ist das reine Männerensemble The Gesualdo Six, doch flankiert ihren Weg schon eine Reihe von hochwertigen Einspielungen, die vor allem wegen ihrer Homogenität, Ausdrucksstärke und Farbigkeit allgemein gelobt wurden. Alle diese Attribute bietet auch „Queen of Hearts“ … Ein schönes und abwechslungsreiches Programm, das wieder einmal die Qualitäten des Ensembles in ein strahlendes Licht setzt“ (Fono Forum, Germany)

‘Whether solo, joined by HIP stalwarts such as violinist Rachel Podger or accompanied by the always marvellous Orchestra of the Eighteenth Century (which Brüggen co-founded), Horsch is as sensitive to each instrument’s idiosyncrasies as she is to the demands of the music, her effortless virtuosity and stylish phrasing, articulation and ornamentation a veritable Recorder Fancyer’s Delight’ (Gramophone)

‘Another enjoyable curiosity: a programme of works for two pianos—with four or eight hands—performed by the MultiPiano Ensemble with the Berlin Radio SO conducted by Ivor Bolton … [the ‘Wanderer’ Fantasy] is tremendous fun, and the performance is winning … what could in less sensitive hands be quite a racket [the Schubert/Pauer marches] is a delightful way to end an enterprising project—these are all first recordings of these versions’ (International Piano)

‘These are energetic and vivacious readings. That can be said of all the excellent performances on this disc. It is a mixed bag but it is also a delightfully engaging programme brought to life by the extremely adept and idiomatic playing of both orchestra and soloists. The programme recreates something of a concert tradition that is rare indeed nowadays and I hope that the Multipiano Ensemble can unearth more of the same’ (MusicWeb International)

„Steven Isserlis macht vom ersten Moment an klar, dass es ihm vor allem auf eine gesangliche Darstellung ankommt. Dabei entstehen einige äußerst poetische Momente … Das Orchestra of the Age of Enlightenment unterstützt den Ansatz des Solisten in allen Belangen. Es spielt sehr fein und agil und zeigt, dass Boccherinis Kunst des Gefälligen viele unterschiedliche Schattierungen kennt … Die neue Aufnahme zeigt Luigi Boccherini als einen in den unterschiedlichen Besetzungen sehr wandlungsfähigen Komponisten. Das macht dieses Album erfreulich kurzweilig, zumal sich Steven Isserlis als ein ebenso kundiger wie kultivierter Führer durch diese Klangwelten erweist“ (NDR Kultur, Germany)

‘The Mass is a tour de force of Obrechtian counterpoint, with all sorts of interesting versions of the cantus firmus showing up throughout; the reduced textures at the beginning of the Gloria are particularly appealing, and the startling dissonance at the end of the Pleni sunt coeli is beautifully crunchy … with regard to musicological prowess, musical skill, and personal sentiment alike, it’s an album well worth a listen’ (Early Music America, USA)

‘Fascinating for anyone interested in Brüggen’s legacy, all these fragile instruments from the 1680s to the 1740s, but it’s a box of treasures musically and the playing of the musicians—from violinist Rachel Podger to Brüggen’s own Orchestra of the Eighteenth Century—is always a delight. It’s a great tribute’ (BBC Record Review)