'If Souster's piece is a reminder of a talented composer who died far too young, then Montague's First Quartet is a memorial of another kind, written explicitly to honour two of his composer friends and driving itself to a ferocious, angry climax' (The Guardian)» More

'Ainsley's voice is in prime form—it is effortless at the top of his range, and the seamless shift from full voice to falsetto is magical' (The Times)» More

'For the richly experienced John Lill, Haydn's music is demonstatably of the highest quality, his quirkiness never toppling into facetiousness and often suggesting darker undercurrents and emotional ambivalence' (Gramophone)

'The singers are ideal for the repertoire, unaffected voices with the mutual rapport of lay-clerks—as two of them have been. Rodrigo del Pozo has a colourful but easy high-tenor voice, Nicholas Perfect a remarkable resonance at the bottom of his range' (BBC Music Magazine)» More

'A must, I would say, for lovers of English Baroque' (Gramophone)

'Inspired at a young age by hearing the legendary Pablo Casals play Bach's Six Cello Suites, the cellist David Kenedy, professor at Trinity College of Music in London, now brings the same music to disc. He shares Casals's snarling, passionate bow and very deliberate articulation, giving the music, in some cases, an almost staccato touch. Some listeners might prefer a more legato line, particularly in Suite No 5, where the chords have a tendency almost to bark. Kenedy differs from the master in certain important respects: he performs at slightly slower tempi, takes no liberties emphasising bowed notes with a left hand pizzicato, and smokes no pipe while playing—but otherwise the Spaniard's ghost is certainly here' (Classic FM)

'Having been inspired to take up the cello through listening to Casals's performances of the Bach Suites, it's perhaps inevitable that David Kenedy, a pupil of Aldo Parisot and Boris Pergamenshikow, should have approached the prospect of committing to disc his own interpretations of these works with some trepidation. The challenges are legion, not merely through trying to master the harmonic and contrapuntal implications of the music within one line, but also in attempting to preserve the spirit of the dance. But Kenedy's performances are obviously carefully thought through, have a clear emotional map of each suite and use a harmonic and contrapuntal logic that is effectively portrayed in the kind of warmly recorded performances you'd be happy to hear in the concert hall' (The Strad)

'The men and boys of the Chapel Royal under Andrew Gant bring history to vivid life. Recommended' (Classic FM)

'The finest MacDiarmid settings here—Moonstruck, The Eene Stane, The Watergaw—are angular and often intensely chromatic, showing that Scott knew his early Schoenberg, while an interest in Bartok inspired his research into Scottish folk music. The songs here are shared between soprano Lisa Milne and baritone Roderick Williams, who capture perfectly the fragile sensitivity of the best songs' (The Guardian)» More

'Tippett's relationship with the BBC Singers went back to almost the beginning of his career, and he often expressed intense admiration for them. His faith is rewarded here … I don't think I've ever heard things like the tortuous chromatic writing at the heart of 'The Weeping Babe' come across with such conviction. Recommended' (BBC Music Magazine)» More

'The performance is vivid and beautifully balanced' (Gramophone)

‘Her violin tone is distinctive, clear and bright, not at all fruity in a conventional way, encouraging her to take a light, athletic view of allegros, adopting daringly fast speeds in the finales of both concertos. The purity of her violin sound goes with precise control of dynamic with refined half-tones, and Chailly's conducting of the Gewandhaus Orchestra, with its Mendelssohnian heritage, helps the soloist to build up in these live performances the essential tensions and emotional thrust’ (Gramophone)