'The 'Lacrimosa' from Michael Finnissy's recent realisation … truly whets the appetite for a complete recording … the Academy of Ancient Music provide solid support and choral scholars sing lustily. The boys, however, have a tendency towards sharpness' (Gramophone)

'The standard of the performance is high, so long as you want a liturgical version, one that might be used at a service … this is an educative set, and it is interesting to listen to the alternative versions' (BBC Music Magazine)

'The main elements of this double CD are opp 73 and 127, both over 30 minutes in length and illustrative of Reger at his most inventive. With Reger's writing bordering on Impressionism here, it is hard to sustain the musical narrative at this length. However, Goode has a natural instinct for this music and one is effortlessly navigated through all the technical challenges presented. By way of contrast the second CD contains the Five Easy Preludes & Fugues and a pair of Reger's Bach transcriptions. I had my doubts as to whether the Symphony Hall Klais organ would prove ideal, but what one loses in atmosphere with the concert hall acoustics, one gains in clarity' (Choir & Organ)

'The first volume of Nolan's survey of all the Widor organ symphonies unsurprisingly dispatched the most popular numbers (5 & 6). Volume 2 features the first two symphonies. While ground-breaking in their symphonic concept, Widor's ideas are still developing in an exploration of different tonal and structural possibilities. In the wrong hands these disparate movements can lack cohesion, but there is no doubting that Nolan's great affinity with this music really lifts the notes off the page. The organ of La Madeleine is beautiful in the softer movements, but I couldn't help longing for Widor's instrument at St Sulpice in the tutti passages, which would deliver more grandeur and clarity' (Choir & Organ)

‘A disc to make the uninitiated fall in love with Schoenberg; a big-hearted performance … which manages to combine intense refinement with unabashed emotion … wonderful, rich recording too’ (TheArtsDesk.com)

'After a long period with only a few new Brahms releases, it seems that now every major record company has found an interesting pianist to record the piano music of the German cigar-chomping master. British pianists are among the leading interpreters, including Barry Douglas, Jonathan Plowright, Martin Jones and Leon McCawley. All have released very fine recordings, although the benchmark remains the recording by Julius Katchen, which has never been out of the catalogue. I sincerely hope Alessio Bax's Brahms will also stay in the catalogue and that he will continue to record more Brahms. His enthusiastic performance of the Paganini Variations is enough to secure him a place among the very best. It is not only his technical prowess that I cannot stop praising, but also, as in the Four Ballades, the high quality of his musicianship. He carefully lays out the complex emotions of the nearly half-hour-long Klavierstücke opus 35 in a way that many seasoned pianists would envy. The finely recorded piano is heard to its full advantage in a naughty Bax arrangement of the Fifth Hungarian Dance, already made impossible to play by Cziffra. It's as if Bax is saying 'come on, I can do anything'. And perhaps he can' (Pianist)

'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