«Le Nash Ensemble met beaucoup d’ardeur à défendre cette très belle musique, qui n’avait pour l’instant jamais fait l’objet d’enregistrements connus. La sonorité est ronde et pleine, le travail effectué sur la partition intelligent. Ce disque ne dépareillera aucune collection et peut même constituer la première pièce de la discographie d’un amateur de musique de chambre en herbe. Autrement dit, il ne s’agit pas de bouder son plaisir» (Classiqueinfo-disque.com)

‘The composer's lyrical gift, rhythmic energy, and skilful use of colour and harmony are the work of a master … the Nash Ensemble does great justice to this music, with polished yet vigorous playing and superb musicianship’ (American Record Guide)

‘Suave musicianship and sonic warmth … the Nash Ensemble offers a vital and intellectually stimulating accounts of these rarities and their devotion repays the listener’s curiosity many times over. The playing is fresh and vibrant, not to mention poised and erudite … not as much as a single note will disappoint’ (Fanfare, USA)

‘There is enough mastery here and in the later Ballade for violin and piano to make highly rewarding listening. The Nash Ensemble's performances, as one would expect, are devoted and full of insight’ (The Daily Telegraph)

‘[Piano Quintet in G minor] is well-crafted, with piquant harmonies (the pianist, not incidentally, is the outstanding Ian Brown who brings added class to everything he touches) … the Clarinet Quintet in F sharp minor commands the listener's full attention. Richard Holsford, the eloquent soloist, is heard at his best in the beautiful second-movement Larghetto’ (Classic FM Magazine)

‘This splendid disc of early chamber music goes a long way to explain [Coleridge-Taylor's] charisma. The Piano Quintet … is a superbly characterful work with an especially original finale. And the Clarinet Quintet … is so assured, so obviously independent of the obvious contemporary model (the Brahms), that the much-overused term 'masterpiece' may not, in this instance, overstate the case … the Nash Ensemble do these deeply attractive and enjoyable works proud (the two Quintets languished unplayed for the best part of a century, and this may be the premiere recording of Op 1) in affectionate performances that revel in Coleridge-Taylor's idiomatic and challenging writing. The recording is warm but texturally crystal-clear. Highly recommended’ (BBC Music Magazine)

‘Coleridge-Taylor's creative light would seem to be firmly in the ascendant … the Nash Ensemble has maintained such an astonishingly high level of interpretative and technical expertise down the years that it is easy to become complacent. Yet even by its standards this is an exceptional recording, with Ian Brown excelling himself with playing of the utmost sensitivity and imagination. High honours also go to violinist Marianne Thorsen who plays the 13-minute Ballade with a radiant glow and passion which have one hanging onto her every note … enhanced by one of the most natural-sounding recordings that even Andrew Keener and Simon Eadon have ever produced, this is a must for all lovers of late-Romantic chamber music’ (International Record Review)

‘This wonderful Hyperion collection featuring The Nash Ensemble at its golden-toned and responsive best … Coleridge-Taylor's Op 10 emerges as a quite astonishingly mature achievement … backed up by a blemish-free production from the Keener/Eadon team and attractively presented, this has to be one of the most engaging releases I've heard all year’ (Gramophone)

'Loyset (‘Louietje’) Compère (1440-1518) is een interessante, zij het minder bekende grootmeester van de Vlaamse polyfonie' (Kerk & Leven, Belgium)» More

‘Anyone who knows the superb Orlando Consort will not pass it up’ (Fanfare, USA)» More

‘Performances of matchless stature and authority. This is an outstanding recording in every respect’ (Gramophone)

'Concerti Curiosi builds on the popularity of Charivari Agréable's recent recording of "Pachelbel's Vespers", the period ensemble here turning its attention to assembling a range of concerti by lesser-known composers of the Baroque era. The highlight is Pietro Domenico Paradies' aptly-titled A Favourite Concerto, a delightful harpsichord piece that affords the ensemble's director Kah-Ming Ng full rein to display his keyboard prowess. Soloist Jamie Savan is similarly dazzling on the two cornett concerti, by Pietro Baldassari and polymath Johan Daniel Berlin, of which the latter's Sinfonia à 5 offers an intriguing blending of the cornett's neat, upright tone with the droney textures of strings and harpsichord' (The Independent)