‘Power makes a convincing case for these as arrangements—more so than other recommended versions. His tone is strong, never whiny (as violas can be) but capable of some variety in colour and expression. Power's musical relationship with Simon Crawford-Phillips, and especially with Tim Hugh in the trio, gives a lot of pleasure’ (BBC Music Magazine)

‘The best tonal contrasts come in the revamped Trio, Op 114, with its subtle interplay between Power’s viola, Tim Hugh’s cello and the piano of Simon Crawford-Phillips. Musically and emotionally, it treads a claustrophobic path; but the musicianship lights the sky’ (The Times)

‘In Lawrence Power's hands the extensive use of the viola's upper register poses no problem; he commands a wide tonal spectrum throughout his range, and there's no sense of strain … this is a very fine performance, of exceptional expressive range, from extreme delicacy to thrilling power … I particularly enjoyed, in the Second Sonata, the second movement's dark passion, where Simon Crawford-Phillips manages exactly to convey Brahms' forte me dolce e ben cantando. The final variations are just as impressive, each one so well characterised (listen out for Power's graceful agility in Var 3) yet perfectly paced so that the coda seems an inevitable climax to the whole work’ (Gramophone)

‘Lawrence Power, the superb British violist, has been putting his underrated instrument back on the solo map in a big way … the viola has an expressivity that is all its own. It's an intelligent, well-paced account with plenty of passion—and Power often lives up to his name. He's especially striking in the quietest, highest moments, playing with rapt and hypnotic finesse. Tim Hugh is a sympathetic cello partner in the trio, while pianist Simon Crawford-Phillips offers good support throughout’ (Classic FM Magazine)

‘Lawrence Power and Simon Crawford-Phillips are a refined and imaginative duo, phrasing with a true Brahmsian breadth, yet never lingering indulgently. A solo viola can easily sound nasal and querulous. Power's tone, though, is consistently beautiful: pure, burnished and expressively coloured’ (The Daily Telegraph)

‘When you hear Brahms' chamber music played by someone as charismatic as Power, you realise how consistently inspired it is—and how much more intimate it sounds on viola … Power's warm, unshowy musicianship is something special, ably supported here by Tim Hugh and Simon Crawford-Phillips’ (Financial Times)

‘It is hard to remember, when listening to this superb disc, that the three works, Brahms's last, were written with the clarinet in mind. Power is among the most persuasive instrumentalists of our day, and, with his unremitting eloquence, could make you believe the viola was a trombone, but his communicativeness is a matter of the deepest feeling. The andante un poco adagio movement of the F minor sonata is infinitely touching, with a pathos that seems to go to the viola's heart, though the stocism, defiance and even exuberance with which the persuasive wistfulness of these works is contrasted are just as authentically rendered’ (The Sunday Times)

‘A professional ensemble that seems to be eking out a niche for itself … Consortium makes some very beautiful sounds’ (Fanfare, USA)

‘Elegant, refined music-making’ (Audiophile Audition, USA)

‘There is little doubt that this is high-class choral singing: refined, sweet-toned, impeccably tuned, with subtly nuanced dynamics … the performances are consistently of the highest quality and when Brahms is at his reflective and melancholy best, so are Consortium’ (Musical Criticism.com)

‘This is definitely a crack chamber-sized choir: the sound is perennially fresh, even youthful … intonation, ensemble, articulation are all flawless … I have much enjoyed Consortium's Brahms, especially for the sheer quality of the singing. They are particularly good at sustaining tone in pianissimo, and they are always rhythmically alive, which is vital in this repertoire’ (International Record Review)

‘Sung with sympathy and ardour by this excellent chamber choir, with apt accompaniments by Christopher Glynn’ (Gramophone)