‘This is a distinctive and personal celebration of Jansen's highly inflected playing in the company of friends … most noticeable in the general concerto canvas is how Jansen's quixotic, bold and spontaneous toying with Bach so often finds itself checked by her 'friends' (Gramophone)

'The piece is performance to a high standard, with tenors Andrew Kennedy and Allan Clayton making the most of the Spirit of Christianity and the Half-Hearten Christian respectively. Soprano Sophie Bevan suggests all the pleasures of Worldliness, and soprano Sarah Fox exemplifies a compassionate Divine Mercy' (BBC Music Magazine)

‘A welcome tribute to Gieseking's smooth touch and sophisticated musicianship. With music from Bach to Roussel—and Gieseking himself—and audio lovingly restored, it's very special’ (BBC Music Magazine)

‘The fact that the music seems to course through the very veins of the singers and players, not to mention Layton himself, is one of the qualities that make this Christmas Oratorio such a telling, affecting and inspiring experience, judiciously balancing jubilation, devotion and contemplation’ (The Daily Telegraph)» More

‘Hough has been regularly programming Brahms in recent concerts and his performances here show his usual thoughtfulness, elegance and brilliance. He’s especially striking in the mature expanse of the second concerto, often flecking solo phrases with miniature hesitations as if pausing to savour the taste of a choice biscuit … as for the slow movement, Hough’s penetrating playing, so limpid and pensive, is still echoing in my head alongside Marcus Pouget’s beautiful cello solos … both concertos are marvels of the repertory and Hough and the Mozarteum players polish their wonders anew’ (The Times)» More

'The relatively small orchestra, clear textures and buoyant pacing convinces the listener that this is no dull oratorio but a genuinely dramatic work … the whole cast are admirable … all sing with clarity and freshness, similar virtues to those displayed by the orchestra, and Ian Page’s pacing is unerringly convincing' (MusicWeb International)» More

‘Jansen’s take on Bach is both fresh and comfortingly familiar … she achieves a rare combination of old-school glamorous sound and the outdoorsy briskness of period playing. Gorgeous’ (The New York Times)

'Throughout these pieces Despax is finely accompanied by Carroll and the Orpheus Sinfonia. They get to show their serious metal in the Franck, their joie de vivre in the Saint-Saens and their sheer technical brilliance in Goss's magical but tricky textures. In each they shine' (Planet Hugill)» More

‘The superb quartet of soloists yields not a demisemiquaver to the competition. In a work incontestably smitten with the alto voice, Iestyn Davies triumphs, dependably warm and expressively supple. Matthew Brook's resplendent all-guns-blazing 'Grosser Herr' is gilded by David Blackadder's nimble trumpet and, throughout, James Gilchrist's relaxed and lyrical Evangelist maintains the narrative flow … crisp choral singing and exquisite accompaniment, this is a decidedly welcome addition to anyone's Christmas stocking’ (BBC Music Magazine)» More

‘The soloist line-up is in general superior both technically and interpretatively, especially the ever-incisive James Gilchrist … the Orchestra of the Age of Enlightenment sounds thoroughly at home and Stephen Layton conducts with care and expertise’ (Gramophone)

‘Hough, Wigglesworth and the Salzburgers construct a towering edifice, conjuring waves of power and tapping veins of poetry from the depths of this perhaps least guarded of Brahms's creations [Concerto No 1] … there's nothing to argue with in either the conception or execution of these stimulating, heartfelt performances. The engineers did a tremendous job of capturing a fully dimensional, sensual sounds that is rich in detail, while providing a welcome true-to-life balance between piano and orchestra’ (International Record Review)» More

‘Works where Busoni found his truest voice … Hamelin, playing with unfaltering lucidity and authority, achieves an astonishing triumph even by his exalted standards. As always, Hyperion has done him proud … an album that could never be bettered’ (Gramophone)