‘Piers Lane is unquestionably one of the best and most versatile pianists in the world … there is probably not a better pianist these days than Lane for this kind of program. He keeps the themes ever present while enjoying all the wonderful things the composers do with them … as with all Hyperion releases, the recorded piano sound is superb and the booklet essay is very well written and quite informative. This is a highly recommended disc that will stay on my active listening stack for quite some time’ (Fanfare, USA)

‘The finale, which returns to the major-to-minor-and-back-again motif of the first, is a joyous romp, however arduous the paces first violinist Edward Dusinberre is put through. Richard O’Neill, the new violist, is outstanding here, too, especially in the closing peroration. The quartet takes the unusual step, incidentally, of not omitting the exposition repeat in the first movement … Schubert’s lengths, in this case, really are heavenly’ (Fanfare, USA)

‘These are such lovely little pieces—fifty-five of them—and Mahan’s skill, musicality, delightful ornamentation and emotional sensitivity mean you don’t get tired of them at all. Such a good recording: you could almost reach out and play one of the parts yourself, and if you’re a keyboard player you’ll want to—your fingers will be twitching. It’s a good series, this’ (BBC Record Review)

‘Hamelin is masterful … Hyperion's sound and presentation are admirable as always’ (The Art of Pianists)

‘Kirkman and his singers guide the listener through this absorbing musical landscape with a sureness of pulse, immaculate intonation and brightness of timbre that are endlessly compelling, bringing out all the beauty of Obrecht’s contrapuntal mastery while revelling in the sheer exuberance of the textures … this disc is a very fitting tribute [to the late Philip Weller], which fairly bubbles over with the enthusiasm he had for music and for his fellow creatures. And as a continuation of the Binchois Consort’s continuing probing exploration of music from the 15th century, it’s simply unmissable’ (The Europadisc Review)» More

‘Mishka Rushdie Momen’s versatility, sensitivity and erudition make assessment of this enchanting recording an elusive challenge. First, and most importantly, there is her unalloyed joy in her task; there is nothing drily academic about her artistry, whether musical or verbal. There is always a telling delight in knowledge as well as in confirmation of her early awareness that music would be her life … Momen’s playing brims with zest, clarity and refinement’ (International Piano)

‘Rushdie Momen not only performs these pieces exquisitely, but also writes about them in an evocative way, referring to her role being 'to animate and recreate this music, not merely to describe or reproduce the text' … [noting] that much is known about the Elizabethans but 'often what is missing is people’s true, private feelings and inner worlds.' She has tapped into those feelings and worlds, sharing them in a deeply sensitive and open way through this music’ (WPR, USA)

‘This is the kind of album you wish would never end’ (The Times)» More

„Einfach überwältigend gut—die Stimmen mischen sich perfekt, weiche Höhe, markante Tiefe, blitzesaubere Intonation und Vokalfärbung; dieses Ensemble singt mit einem wunderbaren Fluss und schafft grade die richtige Balance zwischen Spannung und Ruhe, die für die Musik der Renaissance so wichtig ist“ (SWR Kultur, Germany)» More

'Musikerne holder fint sammen på det stort anlagte værk, hvor alene førstesatsen varer over tyve minutter. Der er en spændende, tilbageholdt kraft i førstesatsen, hvor de kommer ned i det mest tyste piano uden at tabe intensitet eller velklang … Den italiensk-inspirerede finale er nok kvartettens umiddelbart mest tilgængelige sats, og den bliver virtuost spillet, let og dansende og med en gennemført skøn klang' (Klassisk, Denmark)

‘Mäkelä has achieved something very special here, bringing freshness to music that has been recorded many times and by many of the conducting greats. He is a conductor who builds a strong relationship with works through performance before recording them, and the benefits of this approach are strongly in evidence. The players of the Oslo Philharmonic respond with faultless technical and musical skill, and the Decca engineers have lived up to their reputation for achieving outstanding sound quality, with a dynamic range and soundstage that are essential to this music. I hope that Mäkelä goes on to complete a full Shostakovich cycle, given that he clearly has something to say in this music. On this evidence, it would become a cornerstone of the catalogue’ (Presto Classical)

„Ausgewählt hat man geistliche und weltliche Meisterwerke nicht nur aus der Feder franko-flämischer Größen wie Antoine Brumel, Nicolas Gombert und Jean Mouton. Darunter finden sich gleichermaßen berühmte Abschieds- und Trauergesänge wie Josquin des Prez’ „Mille regretz“ sowie Trouvaillen wie Antoine Févins „Fors seulement“. Und den Bogen ins Hier und Jetzt schlägt man u.a. mit sechsstimmigen Gebeten von Owain Park sowie Ninfea Cruttwell-Reade, die sich mit ihrem magischen Pathos nahtlos in dieses Programm einfügen“ (Rondo, Germany)» More