‘This affecting collection contains music for mourning and remembrance … the great experience and skill of these singers provide perfect tuning in pieces such as Tallis’s In ieiunio (sung at low pitch) and superb phrasal breathing (especially in Morales’s Parce mihi)’ (BBC Music Magazine)» More

‘Mahan Esfahani couldn’t make a routine recital of Bach’s keyboard music if you paid him to … what a great way to end a Bach harpsichord recital … I love that final ‘ping’ as he lifts his hands from the keys. Bach’s Italian Concerto begins the album, leaping into life with irresistible immediacy, bristling with trills and decorations like little fireworks bursting over the left hand’s propulsive leaps, and it’s easy to share the sense of satisfaction at the range of sounds Esfahani’s harpsichord produces under his fingers, recorded in a well-handled church acoustic: there’s a lovely halo around everything with no loss of detail, and the bass of the instrument fully captured. Mahan’s notes are as engaging and communicative as his playing’ (BBC Record Review)

‘It’s the highest quality Haydn; more restrained performances than some contemporary quartets, but with a poise, nobility and elegance that’s hugely rewarding, and a richness of tone that does nothing to undermine the wit of Haydn’s finales. You come away from it wondering once again at Haydn’s imagination and his inventiveness’ (BBC Record Review)

‘Plenty to relish here, music and performance’ (colinscolumn.com)» More

‘Mouton, like so many composers too easily categorised as Josquinian aftershocks, comes to life in the hands of The Brabant Ensemble and the results are eye-opening … the singers bring real excitement to the full sonorities of the six-voice works in particular … there is a lot of variety in [the] Mass and indeed in the selection throughout the programme. From the late-medieval feel of Gaude virgo Katherina to the imitative exuberance of Illuminare, illuminare, Jerusalem, Mouton delivers on many levels, and The Brabant Ensemble perform his works with verve and brilliance’ (Gramophone)

‘Benjamin Frith demonstrates virtuosity in abundance, partnering cellist Adrian Brendel in the Introduction and a Russian Dance and joining the unusual instrumentarium (piano, harp, clarinet, bassoon, horn, double bass) for the Op 142 Sextet’s kaleidoscopic timbral combinations and lively Hungarian finale, all persuasively delivered. The other pianist, Simon Crawford-Phillips, stands out in the Grand Sextet Op 100 … clear, clean recordings’ (The Strad)» More

‘This is a super disc, and the music is impeccably performed throughout. I detect hints of Beethoven, Chopin, Weber, Field and Hummel in the piano and orchestral writing. Both concertos and the Rondeau are well constructed, and are a delight from start to finish. This is the sort of music that will have you humming the tunes for days, so well and logically composed that you can almost predict where will go next. Congratulations to Hyperion, Howard Shelley and the Ulster Orchestra for committing these fine works to disc. They are a delight, and will be frequently played in this household!’ (MusicWeb International)

‘In short, there’s no better Reynaldo Hahn piano collection on the market’ (Classics Today)» More

‘The Grand Sextet is a splendidly heroic work, with its virtuoso pianism enthusiastically delivered here by Simon Crawford-Phillips. Its Andante has artless charm, being a set of variations on the Irish song ‘The Last Rose of Summer’ which Beethoven himself twice arranged, and it includes a short but mysterious cadenza which seems to come out of the blue, and go back into it. The Introduction and a Russian Dance for piano and cello (excellent Adrian Brendel) was aimed at the amateur market, but the intriguing G minor Sextet harks back to Mozart in its sunny conviviality. All these works should be in the mainstream chamber repertoire’ (BBC Music Magazine)» More

‘With Howard Shelley directing charismatically from the keyboard, the works here suggest that Aloys was a major virtuoso, and that his prime purpose as a composer was indeed to let his dexterity shine. There are moments when this skilfully-crafted music evokes memories of Mozart and Field, but the loudest echoes are of Beethoven’ (BBC Music Magazine)» More

«C’est un très beau et généreux florilège du lied schubertien que nous offrent ici l’excellente mezzo Alice Coote et son non moins excellent compatriote et partenaire (on n’ose utiliser ici le terme d’accompagnateur), le subtil Julius Drake … la mezzo britannique qui met son beau timbre soyeux au service de ce genre si piégeux qu’est le lied trouve avec un naturel confondant un heureux moyen terme entre la priorité accordée au beau chant ou celle à conférer à la déclamation dramatique plutôt qu’à la ligne mélodique. Sur le plan purement vocal, Alice Coote fait valoir un magnifique mezzo aux couleurs claires et aux registres homogènes ainsi qu’une maîtrise technique irréprochable. Articulant toujours avec soin, elle fait entendre parfaitement chaque mot des poèmes, impeccablement enchâssés dans une ligne mélodique menée, grâce à une respiration parfaitement maîtrisée, avec une grande sûreté et sans la moindre distorsion. Qui plus est, elle se montre fine et sensible interprète d’une musique dont elle saisit le caractère d’intimité et de confidence à la perfection … ce disque … mérite sa place dans la discothèque de tout amateur du genre» (Crescendo Magazine, Belgium)

'Wat een luxe om in een genre dat vooral met barpianisten wordt geassocieerd iemand te horen die zoveel uit de piano kan halen, die kan swingen zonder dat zijn pianistische finesse eronder lijdt. Hoor hem in Eubie’s Luckey Day: zijn handonafhankelijkheid stelt hem in staat een groep met meerdere muzikanten op te roepen' (De Volkskrant, Netherlands)