'The sequence has been carefully thought through here and embraces sufficient variety of styles and texture—some with organ accompaniment, some without—to sustain the disc’s 75 minutes' (The Telegraph)» More

'The dynamic range is excellent, there is real presence, a sense of acoustic space and the innumerable instrumental timbres on offer are vividly recreated … the sound is very, very good … this is an issue that allows one to see a great composer in a new light, and as such is well-worth investigating' (Audiophile)» More

‘Exemplary liquidity and delicacy … telling that Cohen doesn’t make a distinction between instruments and voices—that’s Arcangelo through and through, a unified mass of musicians all after the same goal’ (Limelight, Australia)» More

'The singing throughout is consistently full-toned and focused, but essentially for this repertoire constantly ready with expressive crescendos and decrescendos to mark textual changes in mood … Contrapunctus is the ideal group for this superb repertoire' (Early Music Review)» More

‘Ohlsson, the pianistic prestidigitator, pulls it off again; a fine start to this centenary year’ (MusicWeb International)» More

„Vieuxtemps’s Cello Concertos can be heard on this CD in passionate performances, though the orchestra’s sound lacks transparence and definition. However, Alban Gerhardt plays with tremendous panache, so that at the end, the production is rewarding listening“ (Pizzicato, Luxembourg)» More

‘A composer with a deep love and respect for music … Layton's flowing phrasing and the choir's effortless a capella delivery, embellished here and there by beautiful solo voices … reinforce the beauty inherent to the music’ (Classical Music Sentinel)» More

«Howard Shelley connaît ce répertoire mieux que personne et maîtrise parfaitement le canto spianato, les traits perlés, et le brio vif-argent de cette musique» (Classica, France)» More

'These energetic committed performances of five symphonies dating from between 1757—when Haydn was first writing in the genre—and 1780 show the period band has lost none of its verve and enthusiasm for this strange, dramatic music from the dawn of the 'classical' era' (The Sunday Times)» More

'A bridge between baroque and classical … fevered passions and exhilarating energy' (The Times)» More

'These are vividly coloured, gripping live performances. Antoine Tamestit's viola offers silky sound in the Byron-inspired symphony Harold en Italie … [in La mort de Cléopâtre] Karen Cargill is deeply affecting' (The Sunday Times)

‘Conductor Stephen Layton, along with the Choir of Trinity College Cambridge, should be commended not just for this excellent performance, but also for raising the profile of [Ēriks Ešenvalds], whose ability to write music that deeply affects listeners not just in Latvia, all over the world is a rare talent’ (The Baltics Today, Latvia)» More