‘What impresses most in Red Byrd's approach is the way the clear rhythmicization of the musical phrases is yet so independent of any sense of regular, restrictive beat; this fluidity does not, however, prevent a formidably accurate sense of co-ordination’ (Early Music)

‘A first-rate addition for any collection … do not hesitate to acquire this, and put in a good word for more of the same’ (Fanfare, USA)

‘Beautifully performed and intelligently recorded’ (BBC Music Magazine)

‘Recorded in an atmospherically resonant acoustic, the singing is throaty rather than floaty, with just enough guttural emphasis to sound plausibly monkish’ (International Record Review)

‘In bringing this repertory to life in so convincing a manner, they [Red Byrd] allow the listener to share in the beauty of polyphony coming into a period of rich blossom. That they have done so with such consummate artistry places us all in their debt’ (Opera Today, USA)

‘Written mostly for two voices in a stark, direct style, Red Byrd's austere performances project a wonderfully convincing harmonic picture of sacred music from the medieval Kingdom of Fife … these performances, with the skilled choral contributions of YORVOX, a York University vocal ensemble, offer something new at every listening’ (Sunday Herald, Scotland)

‘In the hands of John Potter and Richard Wistreich, the two singers who constitute Red Byrd, the music is beguiling. It's surprisingly varied, ranging from pieces conceived as note-against-note, two-part polyphony to the extraordinarily ornate Sanctus Christe ierarchia, one of the two Parisian pieces included for the sake of contrast’ (The Sunday Times)

‘The listener is left marvelling at the ingenuity and imagination that produced such an intriguing wealth of rhythmic, harmonic and textural effects from the interplay of just two voices. Red Byrd's performances convincingly recreate this distant sound-world, as well as conveying the excitement with which musicians must have explored the thrilling possibilities opened up by the idea of having two notes sounding simultaneously … an immensely rewarding disc’ (The Daily Telegraph)

'The first line of my review says it all—'This is a disc of staggering beauty and effortless sophistication'. The tradition of British Choral singing at its best' (MusicWeb International)

'A Song of Farewell was recorded in the warmly reverberant acoustic of the Lady Chapel at Ely Cathedral. The singing is immaculate. James MacMillan's A Child's Prayer builds from a quietly pulsing heart beat, deep in the bass register, and blooms ecstatically on the words 'Joy and love my heart are filling'. The soprano soloists Amy Moore and Kirsty Hopkins deserve a special mention for sustaining a sumptuous tone whilst all the while their voices ascend heavenward. MacMillan's music is as technically demanding as it is emotionally powerful and it is a wonder that these exceptional young singers make it all sound so effortless' (Classic FM)» More

'Estas piezas para viola da gamba solo son un estupendo testimonio de musicalidad post Bach, en buena versión de Susanne Heinrich' (La Vanguardia, Spain)

‘Heinrich plays them rather as Abel himself might have, with a sort of quiet affection as if she were playing for a small group in a room … I wish it would go on forever. There are a number of recordings of Abel’s more public pieces, symphonies and chamber music, but I think these thoughtful viol solos do indeed capture him at his best’ (American Record Guide)