‘What an unfailingly delightful compilation it is … an enchanting programme, affectionately and intimately performed’ (BBC Music Magazine)» More

‘Rarely performed and long overshadowed by his justly beloved compositions for the Anglican choral canon, Stanford’s Requiem merits deeper investigation and wider exposure. It has a curiously optimistic mien, given the sense of grief, gravitas and doom that settings of requiem are expected to impart. Yet, as this fine account by Brabbins, the CBSO and stellar soloists and choir demonstrate, the composer’s persuasive response is imbued with compassion and celebration as much as it is by fear and fatalism’ (The Sunday Times)

‘This partnership works well, doesn’t it—Esfahani’s delicate fingerwork and expressive ingenuity on harpsichord and clavichord, and his spontaneous flourishes and attractive ornamentation, combined with the simplicity and accuracy of Sampson’s soprano. Intimate entertainment of the highest quality’ (BBC Record Review)

'Música callada' er skitser. Korte, indadvendte musikalske tanker, der har retning nedad. Men der er alligevel spor af catalansk-spansk flamboyance under den cool overflade, og med den australskbritiske pianist Stephen Hough ved tangenterne får man de skrøbelige satser spillet til perfektion. Klangligt meget smukt forløst på det altid kvalitetsbevidste engelske plademærke Hyperion … har du aldrig hørt om Mompou, er Houghs nye indspilning af alle fire bøger af 'Música callada' en chance. Hjemme hos mig kører albummet i konstant rotation' (Politiken, Denmark)

‘Throughout, Martyn Brabbins’s persuasive tempos and wholesome approach pay many dividends and make the strongest possible case for a score that deserves its place in the limelight that this release now affords it’ (colinscolumn.com)» More

‘The Utah Symphony has enjoyed something of a golden era under the direction of Thierry Fischer … mindful that the cumulative majesty of ‘Bryce Canyon’ is but the climax of the second part, Fischer draws wistful pathos from the depiction of the wood thrush, then builds the evocation of ‘Zion Park’ with unforced eloquence such that this apotheosis yields a fervency more affecting for its understatement … this account impressively combines accuracy with atmosphere in sound of clarity and lustre. Informatively annotated by Paul Griffiths, it can be warmly recommended to those new to and familiar with this masterpiece—a ringing endorsement of Fischer as his Utah tenure reaches its conclusion’ (Gramophone)

‘This is the fourth CD that this vocal ensemble (made up of 19 men this time) has given us … the good news is that this is the first of 12 CDs that will offer all of Morales’s Masses and Magnificats … the large male vocal ensemble produces a rich, well-blended tone. It may be noted that two other vocal ensembles of about the same size are The Brabant Ensemble and The Sixteen, but both are adult mixed-voice groups. This ensemble is easily their equal, and Hyperion is giving us a valuable series of recordings. Go for this one, and you will probably be watching for the rest of the series’ (Fanfare, USA)

‘In taking these momentous scores back to their Parisian roots Klaus Mäkelä, as expected, engages his keen ears and sense of orchestral drama to hear and to project their startling innovation’ (Gramophone)

«Ni le compositeur ni l’ensemble De Profundis ne nous lassent une seule seconde. La masse chorale cisèle cette luxueuse polyphonie avec autant d’engagement que de relief, la vingtaine de chanteurs anglais charpentant avec lisibilité et rondeur la conduite des phrasés, dans un épanouissement sonore … l’aventure débute sous les plus beaux auspices !» (Diapason, France)

‘Exceedingly good … singing together, the group’s blend is breathtaking. But it is actually the moments when each member performs separately that carry the most musical and dramatic weight, each conveying a vast spectrum of emotion resulting from the pangs and pleasures of love, hope, fortune, and misfortune. Like a Matryoshka doll, they are thus able to multiply themselves—while they are only four singers, each contains a multitude of voices, personalities, characters, and moods’ (Early Music America, USA)

‘Mäkelä and his players instill every bar with an undeniable balletic grace’ (The Classic Review)

‘Welcome back to town Piers for a second visit (is it really ten years since the first???), your suitcase once again packed with piano pieces—thirty-four this time—that don’t get out much but deserve to the way you play them—with style and sensitivity, brilliance and brio, affection and artistry. Splendid selections, too, and considered contrasts to sustain eighty-two mercurial minutes … Ben Connellan has done a great job with his microphones. Medals all round for so many delights’ (colinscolumn.com)» More