'An intriguing programme of modern bassoon pieces' (The Independent)» More

'The OAE perform the work consistently around a semitone higher than modern pitch which, in the slightly dry acoustic, produces a clear, bright but somewhat empty sound … the instrumentalists are terrific, especially the magical violins in 'Deposuit potentes' from the Magnificat' (BBC Music Magazine)» More

'Victoria’s Requiem Mass is one of the acknowledged masterpieces of Renaissance choral polyphony, and Tenebrae here exquisitely conveys the flowing relationships between its six voices. The group presents the work with elegant subtlety, allowing the full detail of tonal colouration to shine through unencumbered. The abnegation of worldly miseries in lines such as 'My soul is weary of my life' is echoed in the less well-known but equally absorbing 'Versa est in luctum' ('My harp is turned to mourning') by Alonso Lobo, a complex piece of gorgeous chromatism, in which the sublime soprano tones cascade emotively over the lower counterpoints to remarkable effect' (The Independent)

'As its name suggests, this is a real cabinet of curiosities—rarely heard but charming concerti by the smaller stars of the baroque firmament, played with energy and flair by the multi-talented soloists of the Oxford-ased Charivari Agréable (or 'pleasant tumult'). Composer Pietro Domenico Paradies’ A Favourite Concerto provides a fine vehicle for director Kah-Ming Ng to impress at the harpsichord, but it is Jamie Savan’s cool, straight tone on the cornett that stands out, both in Pietro Baldassari’s Sonata for cornett and strings and in Johan Daniel Berlin’s Sinfonia à 5' (The Times)

'Given the instrument’s historical context, the Lunar Saxophone Quartet operate where classical shades into jazz. Hence the inclusion of Keith Tippett’s Five Short Pieces, playfully evoking occupations of antiquity (archery, smithing, fencing) and the dance pieces comprising Eric Schwarz’s 4 Chair Legs. Elsewhere, scientific schema inspire Gabriel Jackson’s LM-7: Aquarius, a virtuosic piece about the Lunar Module. The highlights though, are less dynamic: James Williamson’s In Memoriam is achingly contemplative, while the title of Lucy Pankhurst’s Diaphanousphere suggests the delicate webs of sound created by the quartet' (The Independent)

'Every one of the pieces on this disc is worth the attention of any serious music lover who is interested in developments in modern music outside of the avant garde and the relevance of such music to modern society at large' (International Record Review)» More

'George Bernard Shaw said it should be a capital offence to perform Messiah with more than 80 musicians, and protested against the Victorians' 'attempts to make the brute force of a thousand throats do what can only be done with artistic insight and skill'. His dream has been fulfilled. Yet the old tradition lives on, though, judging by this splendid account, recorded in Huddersfield last December, it has been refined by the influence of the early-music movement. The buoyant chorus, under Glover's incisive direction, goes from strength to strength. Four vigorous soloists play their part, especially the tenor Mark Le Brocq and the soprano Elizabeth Watts, particularly fine in If God Be for Us' (The Times)

'Repeatedly things catch the ear and impress with their rightness. The abrupt, non-transition back to the main theme in the first movement comes as the kind of jolt Mahler surely had in mind. The deliciously abrasive solo violin in the scherzo also feels just right' (BBC Music Magazine)

'Written in 1762, Arne's English opera seria enjoyed a success which endured till the score was lost in the fire which destroyed the Theatre Royal in 1808. In a first recording, Roy Goodman directed a performance based on an edition by Peter Holman and welcomed in Gramophone by Stanley Sadie. Now a second attempt has been made, by Ian Page, conductor of the Classical Opera Company, with scholar and Gramophone critic Duncan Druce co-opted to work on the finale … of the alternative finales the new one is the more interesting piece of music, though Peter Holman's solution of a chorus borrowed from Arne's Comus works perfectly well' (Gramophone)

'Artaxerxes is a rare beast, perhaps a unique one: an 'opera seria' composed to English words. Almost all of the numbers are solo arias; there are two duets, and an ensemble Finale newly composed by Duncan Druce to replace the missing ending. Arne owes much to Handel, but he tends to write more concisely. This studio recording is based on a staged production, and it shows in the natural way in which the characters interact. The recitatives—also new, composed by Ian Page—are delivered with conviction, flowing seamlessly into the arias. Christopher Ainslie as Artaxerxes woos with honeyed tone, while Caitlin Hulcup as his friend Arbaces impresses with her coloratura. 'The soldier, tir'd of war's alarms', recorded years ago by Joan Sutherland, goes to the excellent Elizabeth Watts as Arbaces' lover. There's much delectable writing for the woodwind and horns, all beautifully played. This lively account of a charming work will give much pleasure' (Classic FM)

'Artaxerxes contains some good ideas amidst others that are merely generic and a few that are empty … here it is presented complete and to a consistently high standard. The very fine cast enters with spirit into the text's convoluted scenario of love and betrayal in ancient Persia and delivering the notes with assurance. Ian Page conducts the period-instrument forces with conviction, and the sound is excellent' (BBC Music Magazine)» More

'The musicians of the Southern Sinfonia lend distinction to the performance and a real highlight is the angelic flute playing which introduces Ben Johnson's simply magical account of the Benedictus. Add to all this the warm acoustic of Charterhouse School chapel and the result is both stimulating and refreshing' (International Record Review)» More