‘The Ex Cathedra choir are on top form. This would be worth seeing in a live performance—I would think there would be many possibilities for imaginative staging’ (AndrewBensonWilson.org)

«Joués et dirigés de main de maitre par Howard Shelley, les trois concertos réunis ici datent de 1799, 1802 et même 1816, et on est plus près dans le panache de Weber ou Chopin que des concertos de Mozart ou même de Beethoven» (La Libre Culture, Belgium)» More

‘The playing is absolutely first class, not only in terms of technique, and Vlaeva consummately brings great power to the table when called for, while still ready to produce the most delicate pianissimo when needed’ (MusicWeb International)» More

‘This is one of the most satisfying recordings this now much loved work has received. Isserlis’s admiration for the piece is conveyed, not just in his playing, with the Philharmonia under Paavo Järvi, but also in a vigorous liner note, which makes much of the fiasco of the first performance’ (Classic FM)» More

‘This is one of the most satisfying recordings this now much loved work has received. Isserlis’s admiration for the piece is conveyed, not just in his playing, with the Philharmonia under Paavo Järvi, but also in a vigorous liner note, which makes much of the fiasco of the first performance’ (Classic FM)» More

‘In this final volume of Hyperion’s Arts and Humanities Council-sponsored project, Potter and his fellow tenors give— alone or together, and with polished control—11 examples of the apparently infinitely flexible medieval song form. When most pieces consist of only a single musical line, refinement and intimacy are the bywords of this set’ (The Sunday Times)

'The King’s Singers maintain an admirably cool approach to these 16th-century sizzlers' (The Guardian)

‘A small treasure of contemporary British music’ (Choir & Organ)» More

‘Isserlis’s cello rages against the dying of the light, sounding angry yet still beautiful’ (The Guardian)» More

‘Isserlis’s cello rages against the dying of the light, sounding angry yet still beautiful’ (The Guardian)» More

«La conclusion de la trilogie (cf. nº 607 et 620) éclairante mais austère montre le trio britannique toujours aussi à l'aise dans les différents styles d'écriture du conduit: mélismatique, syllabique ou bien avec de longues vocalises mesurées selon le principe en vigueur à l'époque» (Diapason, France)» More

«En concert Steven Isserlis agite sa crinière bouclée à hue et à dia, tirant son archet, comme un fleuret, quitte à perdre la musique. Il reste quelque chose de cette ardeur aussi généreuse que dangereuse dans son concerto d'Elgar, heureusement surveillé par la baguette impérieuse de Paavo Järvi. Les chants éperdus, les traits surprenants, les volte-face et ce vibrato passionné venu d'un autre âge agaceront les uns, mais réjouiront les autres» (Diapason, France)» More