'Nolan not only draws real sparkle from the instrument, using its unprepossessing resources to amazing effect, but turns out a magisterial account of the Sonata's first movement. … surely [his] ebullient last-movement antics would have amused old Queen Vic herself' (Gramophone)

'Within seconds you're drawn into the gentle hammer-strokes that unlock Crossland's warm, rounded and perpetually singing sonority, gorgeously captured via Jonathan Haskell's engineering' (Gramophone)

'Here is a choir of 23 young singers, fresh of tone and fresh of mind, careful and accurate over their notes yet giving the impression that it all comes naturally … they blend perfectly, they shade sensitively, they appear to work with like mind towards an agreed ideal of choral sound' (Gramophone)

'It's a sonic cast--all done in a studio—that's quite different from other King's Singers recordings; some listeners will love it, others will, well, have to get used to it. And certainly, if you love this group—and who doesn't?—you've probably already reserved a place on the shelf' (Classics Today)» More

'A 40th anniversary release from The King's Singers, emotionally charged yet immaculate execution, includes unmissable performances of Lobo's Lamentations and Versa est in luctum' (Classic FM)

'The programme focuses on the treble voice and clearly Eton is blessed with a generous supply of these, with no fewer than nine assigned various solos. None of these young voices is anything less than impressive, and several are quite distinguished' (Gramophone)

'The King's Singers perform with their customary clarity of line, rhythmic grace and attention to texture' (BBC Music Magazine)» More

'This fine disc is testimony to the musicality, maturity and insight that distinguish Jamie Walton's cello playing. The coupling is an unusual one, but the two concertos he performs here with the Philharmonia under Alexander Briger prove to be particularly well matched in their expressive scope … both works have an elegiac feel to them, the ruminative atmosphere of their opening bars being recalled in the closing pages. In interpreting these two works, Walton is not someone who wears his heart on his sleeve, which makes the atmosphere all the more poignant in the slow, mellow unfolding of the Elgar's first movement and central adagio, and in the opening lento of the Myaskovsky. There is emotional force, but it is unforced' (The Sunday Telegraph)» More

'Otaka directs refreshingly straightforward accounts of two much-loved and recorded symphonies that have a tendency to collapse under the emotional weight of over-interpretation. Otaka's vision works particularly well in the enchanting Eighth Symphony which flows by effortlessly, fresh-textured and with rhythms delightfully pointed. The 'New World' is a rather different kind of piece, one which (as witness the first moment's fiery central development section) occasionally erupts with a visceral power and energy that Otaka has a tendency to shy away from. Everything is meticulously prepared and beautifully played, but the Sapporo players keep well within their emotional safety zone' (Classic FM Magazine)

'Captivating and headily virtuosic are these performances by Madeleine Mitchell and Ensemble Bash that one is left positively thirsting for more' (Classic FM)» More

'The main work here is the Lou Harrison Violin Concerto with Percussion Orchestra, an enormously engaging work first performed in 1959. Mitchell plays this often lyrical work with great style, in the Largo Cantabile second movement weaving deliciously sinuous and extended musical lines over the most delicate and colourful accompaniment, conjured from, amongst other things, six flower pots and a plumbing pipe. There are five other works, most of which were commissioned by these artists. Mitchell is terrific throughout—she plays with a well focused tone that is both beautiful and lively' (The Strad)

'Allwood and his team forge a persuasive interpretation rich in nuance and fine details. A highly rewarding listen' (Classic FM)» More