‘The Apollonian art of the Tallis Scholars seems to have found in Mouton's balanced and masterly counterpoint a language which exactly suits them. As in the past with Palestrina—and perhaps even more with Josquin—their singing thrills; and makes thrilling the rediscovery of a master of masters’ (Diapason, France)» More

'Alessio Bax is joined by the Southbank Sinfonia in dynamic performances of Mozart's Piano Concertos No 24 and 27. The Italian-born pianist reaffirms his prize-winning credentials in a recording that comes highly recommended' (The Northern Echo)

'Nikolai Rimsky-Korsakov’s days as one of Mily Balakirev’s ‘Mighty Handful’ (Credo: a more purely Russian art music, as opposed to the Austro-German orthodoxy), resulted in the ebullient, vivid pieces found on this recording with the composer utilising influences from both Russia and other countries. The suite from his opera The Invisible City of Kitezh is evocatively realised, as is its stablemate Sheherazade (thought the latter has had more idiomatic readings). The St Petersburg Philharmonic Orchestra under Yuri Temirkanov deliver the scores with panache' (Classical CD Review, USA)

'Cellist Jamie Walton, a founder of the North York Moors festival, is joined by the Philharmonia Orchestra for recordings of Schumann's Cello Concerto in A minor and Dvorak's Cello Concerto in B minor. Warm and incisive readings' (The Northern Echo)

''A Doll's House' is a collection of mostly short (two- to six-minute) and refreshingly varied pieces by British composers born between 1943 and 1973, commissioned and performed by the percussion quartet Ensemble Bash now celebrating its twentieth anniversary. Their crisp precision and commitment to each work is abetted by vividly close-up and detailed engineering plus rapid DJ-like segues between selections that create a seamless, sustained programme' (Gramophone)

'A treasurable multi-tracked adaptations of Britten folksong arrangements' (Sinfini Music)» More

'Freshness of timbre, individuality in the four voice-sections and genuine versatility of interpretive approach are major characteristics. It clearly helps to have the composer, formerly a chorister of distinction, at the tiller: the performances sound absolutely secure in intent and unfussily authoritative' (BBC Music Magazine)» More

'The Sakskoebing Praeludier are vigorously entertaining chorale arrangements. Concerto No 4 stars the composer, firing off an explosively active finale. 4 stars are vigorously entertaining chorale arrangements. Concerto No 4 stars the composer, firing off an explosively active finale' (BBC Music Magazine)

'Most people will probably be drawn to Hideko Udagawa's latest album by the thought of her playing Khachaturian's Concerto-Rhapsody and Sonata-Monologue … in the Concerto-Rhapsody and the Lyapunov, she is accompanied by the Royal Philharmonic, at its most opulent for Alan Buribayev. The unaccompanied Sonata-Monologue is riveting' (The Guardian)» More

'The musical demands presented by any Liszt programme are so wide-ranging that nor even a pianist of Llyr Williams's class will necessarily succeed in meeting all of them, all of the time. By the same token, there will be plentiful areas that do succeed, and brilliantly' (BBC Music Magazine)» More

'Don't be misled by the album's short duration into thinking you're getting less than the full measure of live music-making: Vladimir Jurowski brings Mahler's tragic worlds—both cosmic and human—alive with incomparable vividness' (BBC Music Magazine)» More

‘This splendidly recorded performance of the Second Concerto accentuates its stark and sudden contrasts … Jansen’s playing, notable for its confident manner and wide expressive nuance—and in the finale matching Heifetz for incisiveness—persuades us of the validity of her view of the concerto … for me, the highlight of the disc is the Violin Sonata, surely one of Prokofiev’s greatest works. Its sombre power is fully revealed in Jansen and Golan’s account, from the first movement’s anguished double-stopping, brittle pizzicato and icy scale passages, through the ferocious combat and sweet regret of the two middle movements, to the finale’s manic energy and intensity’ (Gramophone)