'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)

‘Jansen is the most subtle of interpreters, and always a sensitive partner. In the Second Violin Concerto, she keeps sentiment at bay … she responds cannily to Prokofiev's pared-back orchestral forces. This is not the usual patchwork of ideas, but an argument that Vladimir Jurowski keeps urgently on the move with the LPO soloists … Jansen's colleagues in the companion pieces are her equals, too’ (BBC Music Magazine)

‘The Tallis Scholars and their perfect phrasing have caused a forgotten composer from the Renaissance, Jean Mouton, to be born again’ (Classica, France)» More

'The service’s format appears set in stone, but Stephen Cleobury, the college’s long-serving director of music, isn’t resolutely stuck in the past. Not every newly commissioned carol lifts the spirit, but Dominic Muldowney’s Mary is eloquent; so, in its melodious way, is John Rutter’s new offering' (The Times)

'The quintessential Christmas service for many, and this year’s offering is a perfect blend of innovation and tradition. The centrepiece of their new disc (the first recording on the college’s own label) is a new carol by John Rutter—‘All Bells In Paradise’, which is surely set to become a firm Christmas favourite' (Presto Classical)

'Fascinating but more esoteric, each item's intention and techniques well explained in Joby's notes—he is a twenty-first-century explorer at the edge. Riveting!' (Musical Pointers)

'The freshness of attack you get with younger voices is put to incisive use by conductor Ralph Allwood, whose Rodolfus singers are all products of the famous Eton choral courses. Parry's Welcome, Yule! can seldom have had a more sheerly ebullient performance, but the choir also brings formidable precision of pitching and ensemble to quieter settings, such as Tavener's The Lamb and Poulenc's O Magnum Mysterium. Some of the emotional deepening which comes with vocal maturity is occasionally missing, but there are many qualities here that compensate' (BBC Music Magazine)