‘Eastop has the gift of numerous timbres and effects, a wide range of dynamics, shares the fun of wacky cadenzas, is unfazed by high notes, can be audacious and—put simply—is a master of the natural horn, everything heard having to be made without the aid of added-later valves and sophisticated plumbing. This is flawless, poised and always musical playing’ (Classical Source)» More

‘Highly recommended’ (AllMusic, USA)» More

‘Pip Eastop plays a natural horn akin to the type available to the virtuoso for whom Mozart wrote the four concertos, Joseph Leutgeb. Mozart clearly did not feel in any way hidebound by the horn’s limited range of easily attainable notes … with lucid input from The Hanover Band and from the Eroica Quartet in the Quintet, these performances have a musical integrity over and above historical interest’ (Gramophone)

‘I liked her performance of the Pastoral, which opens proceedings, and Op 2/3 which concludes matters, but I thought her Pathétique a little underwhelming … Classic FM magazine made this a Disc of the Month’ (MusicWeb International)» More

‘This is a remarkable disc, firstly because of the rarity of the repertoire it contains, and secondly because of the extraordinary vigour of much of the singing. When I first listened to Nato canunt omnia, I was quite taken aback both by the speed and by the brashness of the sound—the ‘milked’ false relation at the final cadence is to die for—but further acquaintance not only makes the vigour seem normal but essential. Stephen Rice gives quite brilliant analyses of the pieces recorded in his very substantial booklet notes; of Nato canunt omnia he says, ‘The piece as a whole stands as a virtuosic demonstration of Brumel’s compositional technique, which juxtaposes radically different styles and textures to create a glittering musical collage.' … the Missa de beata virgine offers, on account of its length, many sonic possibilities, and the Brabants are able to use both their sharp- edged upper voices and their sense of line to tremendous effect’ (International Record Review)» More

‘Debussy's absence from Marc-André Hamelin's recorded repertoire has always struck me as a shame, the more so when one considers that Hamelin's pianistic style comprises exactly the right combination of colour, imagination and precision of touch. The present disc, which consists of captivating interpretations of the two collections of Images alongside the second book of Préludes … is thus particularly welcome’ (BBC Music Magazine)» More

‘The final volume of a set of Baroque Music from Latin America, performed by Ex Cathedra Consort and Baroque Ensemble/Jeffrey Skidmore. The music is by Juan de Araujo (1648-1712), interspersed with sections of the anonymous Hanacpachap cussicuinin … John Quinn made the album a Recording of the Month and I made the whole series part of my Hyperion Top 30’ (MusicWeb International)» More

‘As Tony Haywood wrote in his appreciative review, you really need the companion disc, containing Nos 1 and 4 and Central Park in the Dark, to complete the picture— only, with no download, on CDA67540. The transition from No 1 to No 4 on this album is a real culture shock. Now the hymns, popular songs and marching tunes are juxtaposed and superimposed on each other in the second movement. I’m not sure that I can yet relate fully to this symphony, or that I ever shall, but I’m prepared to work at it for the sake of the sublime third movement and the powerful finale’ (MusicWeb International)

‘Strongly tonal and lyrical, Jongen's chief influences seem to be Richard Strauss and César Franck … the Fantasia in E major has a gorgeous honeyed melody as its main subject. A better title might have given it wider currency. The more amorphous Adagio symphonique from three years later comes from the same stable, with the soloist flying high over a rich orchestral texture. It is this characteristic that is most evident in the three movements of the Violin Concerto’ (Gramophone)

‘Hypnotic intensity: harshness mingled with beauty … there is beauty, too, in the setting of Jeremy Taylor’s poem on the Annunciation. I haven’t heard the rival recordings from The Sixteen or New College Choir but I doubt that they convey the quality of this almost timeless setting better than Polyphony’ (MusicWeb International)» More

‘The King’s Choir and Consort directed by Robert King made a complete series of the Sacred Music of Claudio Monteverdi (1567-1643) … this is music that I could listen to all day long. With Carolyn Sampson and Rebecca Outram (sopranos), Rogers Covey-Crump (high tenor), Charles Daniels and James Gilchrist (tenors) and Peter Harvey (bass) you could hardly wish for a more distinguished team of soloists’ (MusicWeb International)» More

‘Eastop sails through the challenges with aplomb. His playing possesses plenty of agility and he can phrase slow movements gracefully … he is matched by a very stylish Hanover Band … the string playing is lean, with clean articulation and punch to the accents … after the concertos comes a lovely reading of the Horn Quintet, K407, the earliest work Mozart composed for Leutgeb. In this, the composer employs two violas instead of two violins, giving a slightly darker string palette, admirably conveyed here by the Eroica Quartet. After the raucous, rambunctious concertos, the Quintet offers an amiable postlude, performed with much charm. This is a clear winner of a disc destined to bring many a smile through the winter gloom’ (International Record Review)» More