'Anais Nin, an intense sonic psychodrama for solo soprano and ensemble of eight musicians in which composer Louis Andriessen explores the life and especially loves of Nin, certainly puts Cristina Zavalloni's voice through its paces … De Staat explores the relationship between composition and politics, taking Plato's The Republic as its text. The braying chorale builds like the most gleeful of hyperdramatic soundtracks. Here, though, the effect is not that of a Bruckheimer epic—all faux emotion—but more the lusty avant-grandeur of the likes of Werner Herzog making an elliptical examination of the state' (MUSO)» More

‘The whole recording radiates with the energy that comes from playing these captivating old instruments, and the players' commitment to them’ (Trombonist)

‘Some exquisite lyrical playing, with extraordinary beautiful tone colours’ (Early Music Review)

‘A captivating snapshot of how brass music might have sounded … Their combined sound, especially in the larger ensemble, is like any good antique: full of character, gloriously grainy, slightly worn, but unique, and a fine tribute to the original craftsmen. The performances on these troublesome instruments are heroic, with virtuoso playing on the hand horn from Andrew Clark that belies the labours involved. An invaluable contribution to a neglected area of musical research and an hour's fascinating listening’ (BBC Music Magazine)

‘Excellent recorded sound … a roundly fascinating release’ (International Record Review)

„Coombs's unimpeachable musicianship and authority carry all before it“ (Piano, Germany)

‘Coombs is an artist of great sensitivity and effortless virtuosity, and he makes the best possible case for both’ (The Penguin Guide to Compact Discs)

‘A model issue from a source which has become a byword for the best in enterprise’ (Gramophone)

‘A couple of piano concertos that have been waiting in the wings for the committed advocacy they deserve and have finally received’ (Fanfare, USA)

‘Rich in romantic melody … these are well-realised performances, and in realistic sound. Clearly music which should be heard more in concert programmes’ (Liverpool Daily Post)

‘The elevated intelligence and romantic intensity of Taneyev's writing, laid out here on an almost epic scale, are amply reflected by Piers Lane and the Goldner Quartet, as is Arensky's blend of rigour, ardour and charm’ (The Daily Telegraph)

‘Taneyev's Piano Quintet is an expansive work, warmly played here and with the subtle intelligence he demanded of himself when planning a work … Arensky's Quintet has the lightness of touch that he admired in Tchaikovsky … the piano-writing is deft and delicate, excellently handled by Piers Lane and well balanced with the strings in the recording’ (Gramophone)