‘Müller-Schott is certainly one of the finest cellists before the public today, and this is his core native repertory. The performances have the winning freshness of rediscovery’ (The Sunday Times)

‘Absorbing interpretations, where the two players instinctively click and the music comes across with vibrancy, sensitivity and a galvanising unanimity of purpose’ (The Daily Telegraph)

‘They project the D major [D major sonata] middle section as the ray of light it is. Then they excel in projecting the final fugue clearly, while giving free rein to its sharp cross-accents and registral leaps. Here, Müller-Schott brings a steely intensity to his high passages and an effective growling colour to those down below, while Hewitt deploys her Bachian expertise to advantage, yet conveys Beethoven's counterpoint as pianistically spikier and more rebarbative’ (International Record Review)

‘These performances are strongly characterised, clearly etched and full of life and drama. The account of the D major Sonata's great, sombre Adagio is powerfully eloquent … with Müller-Schott demonstrating a breathtaking control of subtle changes in tone and dynamic level’ (Gramophone)

‘Once again Müller-Schott and Hewitt deliver strong and committed performances characterised by great attention to detail and wonderful musical interaction. The three sets of variations are projected with charm, elegance and virtuosity’ (BBC Music Magazine)

‘An attractive issue for anyone wanting period versions’ (The Penguin Guide to Compact Discs)

‘A formidable pianist … Kinderman's exemplary clarity allows us to hear every detail of the amazing score and to marvel afresh at its beauty and sheer ingenuity’ (The Sunday Times)

‘William Kinderman is the scholar-performer to whom Alfred Brendel entrusts his programme notes … and the author of a recent Beethoven monograph … [This playing] takes an expansive delight in the music's wonder-filled journey … toughened by the many insights his research has yielded … not to be missed’ (The Times)

‘A revelatory issue, strongly recommended’ (Raidió Teilifís Éireann, Ireland)

‘Hamelin imbues the music—from the opening fanfare [of Op 106]—with a sense of optimistic energy … the rapid speed from Hamelin, only a mite off from Beethoven’s written requirements, for the sake of textural clarity, achieves a slick momentum, quite kaleidoscopic in effect’ (Audiophile Audition, USA)

'Tenor John Mark Ainsley is already recognized as one of the most exciting talents around … with a total vocal and emotional commitment. A riveting singer' (Opera Now)» More

‘Two budget recordings of this underrated mass stand out … My own favourite, the more dramatic 1995 version conducted by Matthew Best. He conjures a prayerful mood for the Kyrie and Andante, and a fierce exultation in the Gloria and Credo. Orchestra and chorus are incisive, and the balance ensures that you hear all Beethoven's woodwind detail, not least his inspired touches of bassoon colouring’ (The Daily Telegraph)