‘[Jurowski] judges the variety of weight and the palette of colour in the orchestral sonority ideally, and is ready with the essential instrumental dialogues with the soloist in the finale. The concerto is not exactly under-represented in the catalogue, but this penetrating, luminous and dynamic interpretation is one to linger over’ (The Daily Telegraph)

'There's much worth celebrating on this excellent new (or newish) recording of Bruckner's Fourth Symphony. The venue is the Royal Festival Hall, the date October 30, 2008 … the principal attraction here is a sense of blossoming growth, the way the first movement's climaxes gradually gain in intensity … we're clearly in a different place and the heat is full on' (Gramophone)

'Culminating in beautiful performances of Byrd and Monte's famous collaboration (one might almost say commiseration) Super flumina Babylonis/Quomodo cantabimus, this album brings together some of Byrd's most agonized musical utterances with some surprisingly melancholy works by Monte' (Early Music Review)» More

'The core of Llyr Williams' recital disc is a selection of five pieces from the second, Italian, book of Liszt's Annees de Pelerinage—the little Canzonetta del Salvator Rosa and the three Petrarch Sonnets, leading up to the great, climactic Dante Sonata. As he also showed in his Edinburgh festival recital last week, Williams is a superb Liszt interpreter, never content to use even the most technically demanding music as just a vehicle for flashy display, but always looking beneath the elaborate surfaces for deeper rigour and meaning. That doesn't mean he ever understates the music's sense of theatre or misjudges its sense of scale, though; there's a tremendous power and intensity to his Dante Sonata that's maintained from the taut opening phrases to the very final bars. He prefaces his sequence with the Tarentella that ends Venezia e Napoli, Liszt's supplement to the Italian Annee, and adds the Bénédiction de Dieu dans la Solitude and the transcription of the Liebestod from Wagner's Tristan und Isolde as mighty, powerfully wrought postscripts' (The Guardian)

'Paul McCreesh envisages 'the world's largest chamber choir' that would emulate a chamber choir's 'extremely nuanced, coloured and articulate singing' … if the soloists, Sarah Connolly sings with mellifluous tone and Simon Keenlyside is an Elijah of spirit and intelligence: he may not have the sheer weight of a Bryn Terfel, but he's alive to every shift of meaning and his diction is, as ever, impeccable. The gut strings, unimpeded by vibrato, bring splendid urgency to the texture' (BBC Music Magazine)» More

'this release is an absolutely tremendous achievement … it is the choir that is the heart of the piece and the performance. All ages, joyful, uninhibited yet unanimous, they carry all before them. Was this the best tenor section ever? Has unison singing ever been so thrilling? The starry soloists also give their best, with Simon Keenlyside a magisterial Elijah to whom future performers of the role will surely look for inspiration … set an evening aside and prepare to be uplifted with the prophet. You'll feel that you're in his fiery chariot' (Early Music Review)» More

‘Will Todd's moment in the glare of popular consciousness came in June when his anthem The Call of Wisdom was sung at the Queen's Diamond Jubilee service in London … under the graceful direction of Nigel Short, the 22 mixed voices of Tenebrae imbue it with a warm, comfortable glow' (Gramophone)

'This selection of new works for percussion ensemble offers a myriad different directions, several more refined and delicate than you'd expect from music. made by bashing. Howard Skempton's 'Slip-stream', for instance, is the most restrained of percussive duets, with vibes and glockenspiel twinkling delicately over shimmering cymbal, while. Peter McGarr's 'Sound Asleep' employs wind and string instruments alongside a wide range of percussion for a shifting evocation of a dreamscape. The longest piece is Keith Tippett's absorbing 'Dance Of The Dragonfly', a jittery work whose long pauses, punctuated by sudden rapid bursts of activity, skilfully evokes its insect subject's brief but dazzling life' (The Independent)

'Bliss places his own distinctive stamp on the familiar tunes and on at least two of the tracks his classical training adds to the performance … all in all this is a very good jazz debut album from a very talented musician, ably supported. He's someone to watch in the future and on this evidence highly recommended' (Jazz Journal)» More

'Gallicantus explores Byrd's fascinating 'personal musical exchange' with Philippe de Monte in The Word Unspoken. Six Byrd motets sit alongside five by the Italian who, like Richafort, deserves to step out from under the shadow cast by giant contemporaries.The singing is beyond exemplary: deeply felt, tenderly phrased, perfectly balanced, with the most profound understanding, seemingly bred in the bone' (Choir & Organ)

‘The reader may well divine that I am still half-in-love with Harriet some 40 years after first discovering her: that may well be true. However, I would challenge any person to listen to her performance of Debussy’s Clair de Lune and not be impressed, challenged and moved’ (MusicWeb International)

'The Exeter Philharmonic Choir is equally committed, well supported by the Royal Scottish National Orchestra. In sum, an unusual and heartfelt addition to the catalogue and a work that could well earn a place in the repertoire of more ambitious amateur choral societies' (Choir & Organ)» More