'The supporting performers are well chosen. Abraham and lsaac opens with Johnson and countertenor Christopher Ainslie, judiciously placed by the technicians, making a hauntingly other-worldly effect as the voice of God. Benedict Nelson blends well with the two of them in Canticle IV. The recording keeps James Baillieu's tellingly characterised accompaniments to the fore, as it does solo horn and harp, both excellent. Recordings with Peter Pears remain the benchmark, as ever.  … this new release from Signum Classics is a contender well worth hearing' (Gramophone)

'Hakim's spiritual exuberance is expressed in harmonically ear-tickling music which sings and dances, accelerating, in his inimitably breathless toccatas, to the insane-sounding speeds of whirling dervishes' (Choir & Organ)» More

'Whilst I’ve been away there have been a few new album releases that I am only just catching up on. There are two new ones on Signum Records. The first, Sometimes I Sing by composer Alec Roth, is a haunting disc of music for tenor (Marc Padmore) and guitar (Morgan Szymanski) to texts by Thomas Wyatt, Vikram Seth, John Donne and Edward Thomas. The music has a jewel-like simplicity that owes much to folk idioms. Padmore’s singing is mesmerizingly beautiful. The second is another new recording of Le Sacre du Printemps, this time programmed with Ravel’s La Valse and Mother Goose. It is performed by St. Petersburg Philharmonic under Yuri Termirkanov' (Composition Today)

'The two major organ works on these discs show Max Reger at the height of his powers. They are performed by David Goode on the organ at Symphony Hall, Birmingham. As well as the large-scale works, such as Variations and Fugue on an Original Theme, the set includes shorter preludes and fugues. Compelling recitals' (The Northern Echo)

'Jamie Walton's latest anthology for Signum once again shows him to be a impressive performer in terms of technical acumen, stylish refinement and burnished tone. The Philharmonia, too, respond with beguiling poise (flutes, clarinets and horns in particular cover themselves in glory), and Ashkenazy's is an avuncular presence on the podium' (Gramophone)

'This release is a fitting tribute for a conductor who knew precisely what he wanted in terms of expression and colour, and who was blessed by having an orchestra—the LSO (of which he had been both Principal Conductor and President)—that could deliver it … the result is vivid, decisive and full of verve' (Classical Source)» More

‘They generate an intoxicating mix of heady passions in Schoenberg’s Verklärte Nacht, at the same time maintaining impressive clarity of texture and shaping what can seem a sprawling work. And in a fresh-sounding performance of Schubert’s late quintet, they bring a relish of its boldness as well as an ambiguous poignancy’ (The Sunday Times)

‘A stunning collection of music played by one of the most talented of British pianist’ (MusicWeb International)

'Like his one-time mentor Benjamin Britten, Bennett showed a genuine aptitude for writing music for children, particularly vocal works. Christopher Bell and the NYCoS National Girls Choir offer a delightful and varied programme of this corner of Bennett's output. In addition to the amusing Letters to Lindbergh, the album includes The Ballad of Sweet William, The Aviary, Dream-Songs, A Song at Evening and Four American Carols. All receive idiomatic readings from the clean, incisive voices of this superb Scottish choir, and throughout one marvels at Bennett's gift for distinctive yet always memorable melody. [This album] can be warmly recommended' (Choir & Organ)

‘In one disc after another you are drawn towards a deeply personal quality that endeared her to thousands … this set will prompt endless reappraisal as well as ample confirmation of Hess's enduring celebrity’ (Gramophone)

'There are episodes of exquisite natural beauty and organic sounds. What’s missing is Bernstein’s abandon, but the details are delicious' (Sinfini Music)» More

'The alternative realisations are interesting and convincing, the boldest one Michael Finnissy’s rather Romantic-sounding Lacrimosa. And Stephen Cleobury’s performance of the Süssmayr edition is pretty splendid—the boys’ voices of the Choir of King’s College brilliantly incisive, matched by astringent period orchestral forces' (TheArtsDesk.com)