‘A special contribution that Fischer made to the rehabilitation of Mozart was to revive the practice of performance directed from the keyboard. In this century he seems to have been the first to do so—a salute, then, to him as a pioneer’ (Gramophone)

'For those who know Pachelbel only through the Canon, this album will be revelatory. The music, unearthed and edited by Kah-Ming Ng, comes from a manuscript now in the Bodleian Library. It’s not a complete Vespers setting, but includes five settings of the Ingressus and two Magnificats, all composed for a rich-textured ensemble of voices, strings and continuo. The influence of Monteverdi is evident in the music’s contrasts of scoring and of mood, and in the sheer delight Pachelbel takes in writing virtuoso passage work. But there’s also some counterpoint that looks forward to Bach. Each piece is beautifully served by the ensemble' (The Sunday Times)

'A beautiful and dramatic performance of a work much criticised, but with an ever-enduring popularity' (Choir & Organ)» More

'The darker side of Verdi suits the Russian mood. La Scala itself would be hard-pressed to offer more appropriately sounded and coloured singing and playing than that provided here by the Mikhailovsky Theatre Chorus, with its dark-toned Russian basses, or the St Petersburg Philharmonic itself … Temirkanov has his own special affinity with aspects of the Verdi style … Under Temirkanov, sober respect for text and music is the order of the day. The result is a scrupulously prepared performance that is devout without taint of religiosity, considered but never dull' (Gramophone)

'The sensible admirer of White’s music will acquire all three recordings … sung entirely by male voices and never once is there a loss of clarity, a hint of muddiness' (Gramophone)

‘APR has provided a rare chance for pianophiles to easily access Merzhanov in his prime, so don’t hesitate’ (Classics Today)» More

‘Stephen Kovacevich, then still at the halfway stage in reclaiming his surname, made an excellent performance for Hyperion. That it has been relegated to the Special Archive Service is no fault of the performance or recording, both of which are admirable … among the many virtues of this recording is the fact that the first-movement repeat is taken, extending it to a weighty 20:25, which is appropriate in view of the extent to which the sonata’s emotional tone is established by this movement’ (MusicWeb International)

'The Crucifixion was conceived—that is, to be sung with romantic, emotional conviction, by a choir that revels in the sound of rich, chromatic harmony' (Gramophone)

‘Janine Jansen has a rare ability to communicate her thoughts and feelings about the music while appearing to play in a simple, straightforward manner. The small variations of colour, pressure and emphasis that bring this about transmit a sensation of intense inner life … she benefits from admirable recorded sound and finely judged orchestral playing; I’ve rarely heard the Rondo theme of the finale in its tutti version sound so joyful and exultant … the Britten is very well recorded, too’ (Gramophone)

'This group of contemporary vocal works was specially commissioned by The Clerks over the last 10 years and written to suit their forces, ranges and timbres … this cycle makes for rewarding repeated listening, not least for its detailed organisation (an insight of which is helpfully provided by the composer in the booklet-notes) and the rich, variegated texture of the vocal writing' (Gramophone)

'Hawes’s admirers will find much here to confirm their warm response to his music’s quiet strength and individuality. A minor problem is the collection of so many short items which, heard through on a single album, can’t help sounding more similar than they are. Among the best are The Call—a setting of George Herbert for soprano and string quartet, cannily conjuring the sound of an Elizabethan viol consort—and the atmospheric After the Rain for string quartet and piano. The excellent performances feature the tawny loveliness of Julian Lloyd Webber’s cello-playing, plus two fine solo singers' (Classic FM Magazine)

'[A] simultaneously rich and discreet character in playing of an imperturbable clarity … a marvel of refined brilliance' (Gramophone)