‘The disc provides a fine opportunity to hear Iestyn Davies on peak form, joining with Cohen and Arcangelo to make engagingly vibrant chamber music with the voice very much part of the ensemble’ (Planet Hugill)» More

„Gerhardt hat die Zugaben sehr gut ‘rostropovichisiert und spielt sie technisch absolut herausragend, mit zum Teil stupender Virtuosität oder auch betörendem Lyrismus. Markus Becker ist ein konstruktiv mitgestaltender Klavierpartner“ (Pizzicato, Luxembourg)» More

‘Beauty of tone and [an] ability to negotiate the most complex of Bach’s musical lines with apparent ease. [Iestyn Davies'] ability to ornament, including proper trills, is exemplary’ (AndrewBensonWilson.org)

‘Directed by Jonathan Cohen, Arcangelo's strings have a beautifully firm sound, with plenty of bow and intelligent details from the lute’ (BBC Music Magazine)» More

‘The earlier version is indeed magnificent; it is only when one encounters this most recent reading that one realises things could indeed be taken further. There is no loss of that characteristic excellence of textural clarity, but there is a deepening, evident right from the statement of the Theme, which is more inward-looking and given more space. This sense of depth maps onto a heightened sense of tranquillity’ (International Piano)» More

‘The earlier version is indeed magnificent; it is only when one encounters this most recent reading that one realises things could indeed be taken further. There is no loss of that characteristic excellence of textural clarity, but there is a deepening, evident right from the statement of the Theme, which is more inward-looking and given more space. This sense of depth maps onto a heightened sense of tranquillity’ (International Piano)» More

«Steven Osborne confirme pour son troisième enregistrement beethovénien ses affinités peu banales avec le compositeur allemand» (Diapason, France)» More

‘Kolesnikov's touch is cultured, his sound warm and articulate, his projection happiest in reflective, confessional mode … when he succeeds in escaping the concert room, the studio habitat, and lets the light in, he dreams for all of us’ (Classical Source)» More

‘[Krenek’s work] provides food for thought in arguing for the acceptance of reality with its untidiness and compromises, rather than immoderate, strident posturing, and Boesch’s performance urges that in a quietly persuasive manner’ (Classical Source)» More

'I marvelled not only at Maazel’s formidable interpretations but also at the sheer beauty of the orchestral playing and the excellent contributions from chorus and soloists' (Classical Source)

‘This performance and recording of Spem in alium is one that can be recommended as a top-notch version amongst the many now available. The Cardinall’s Musick is never afraid to use a judicious amount of vibrato on their vocal tone, and this is also the case in their much reinforced ensemble here. The blend of voices from top to bottom is very good, with those high lines floating over the texture of the rest with great beauty’ (MusicWeb International)

„Man darf gespannt sein, wann sich die beiden nun an die ‚großen‘ späten Sonaten wagen. Ihr Konzept geht jedenfalls immer noch auf und macht die zweite Folge abwechslungsreich“ (Klassik.com, Germany)» More