'Stephen Connolly's farewell disc beguiles with rich close harmony arrangements of jazz-inspired songs' (Classic FM)

'This is a very distinguished record. The main work is Durufle's Requiem, in the version with organ accompaniment, which is extremely well played by Jeremy Filsell with Robert Cohen participating in the Pie jesu movement to moving effect. The singing, from this distinguished choir, is really fine, and the vocal soloists add their individual refinement most admirably. The main work is partnered with Durufle's Four Motets, music of equal quality and sung with admirable purity of style throughout. Jean-Jacques Grunenwald's far less well-known choral music clearly on this showing, demands a wider audience than it has received hitherto and the nature of these performances by the Vasari Singers, under the gifted Jeremy Backhouse, will surely go a long way to achieve that aim. The sound quality is first rate throughout and all-in-all this superb album is strongly recommended' (Musical Opinion)

‘[Maria Yudina] is personable and dignified in the Funeral March from Op 26 and clearly in her element in the brief but intense Adagio from Op 101. A curious, sometimes fascinating disc’ (Gramophone)

'The singer catches the mood perfectly' (Gramophone)

'While Gallicantus was formed only two years ago, its members own a collective experience of ensemble singing measurable in long decades. Their artistry shines through in this debut disc, so much so that it's tempting to award five stars as a matter of reviewing course. I've resisted simply because the fine detail in Robert White's polyphony, especially in his multi-textured psalm settings Exaudiat te, Dominus and Manus tuae fecerunt me, is occasionally muddied by the reverberant acoustic of All Hallows, Gospel Oak. Fans of majestic Tudor sacred music, however, should immediately add this to their list of albums most wanted' (Classic FM Magazine)

'Salonen emphasises the prophetic rather than the nostalgic. He is electrifying in the grotesque rondo-burlesque scherzo … in the two massive slow outer movements … [he] empathises with the love of life and the beauties of nature that paradoxically emerge from Mahler’s premonition of death' (The Sunday Times)

'The recording includes a very competent performance of Beethoven’s second Leonore overture … Salonen gives it the full revolutionary operatic treatment (another strong influence on Berlioz), complete with off-stage trumpet calls. The orchestral textures are opened up, and Beethoven’s thematic variations fully explored' (MusicWeb International)

'Andrew Davis's second Elgar disc in this Signum series of live performances with the Philharmonia is as good as if not better than his first … they are superb performances, with plenty of electricity and sense of occasion' (BBC Music Magazine)

'Received unsolicited and gratefully, this is a great album … the production is first class, with full informative notes, all the sung texts and several illustrations. Eton College Chapel lends its acoustic to a quite exceptional choir/organ disc, which will give pleasure also to people who may not be regular choral music collectors' (Musical Pointers)» More

‘Yudina's expressively confident Beethoven is stimulating, meriting extensive appreciation’ (BBC Music Magazine)

'Most recently to be found helping Peter Gabriel transform the cover versions on Scratch My Back, John Metcalfe here furnishes cellist Matthew Barley with a series of pieces mostly composed for solo cello and electronics. Using computerised octave-splitters and delay units, Barley achieves a surprising depth of sound and harmonic richness, particularly on the title-track, where echoing wisps of electronic sound flutter around the cello like butterflies; Lonely Bay, on which the concentration necessitated by using a 40-second loop imposes a deep meditative calm; and The Appearance of Colour, where the slow accretion, note by note, of a single 25-note chord produces an imposing serenity' (The Independent)

‘Few of the recordings can be a touch steely in places due to their rarity, but Mark Obert-Thorn ensures that Zadora’s tonal qualities are respected and this is accomplished work’ (MusicWeb International)» More