‘Hewitt's dynamic shading and careful ornamentation work together to produce the scintillating musical equivalent of light shining through crystals’ (Toronto Star, Canada)

‘Played with this degree of sensitivity to articulation, textural balance and colour, it comes blazing off the printed page … Hewitt is inimitable’ (Classic FM Magazine)

‘Angela Hewitt works her magic on the most instrument-specific of the French grand siècle harpsichordists, not least by respecting rather than rejecting the harpsichord … her fingering clarity matches the articulation of a harpsichord's plucked string. Above all, her impeccably even tone allows her to deck the melodic lines with Couperin's carefully-specified ornaments, without a hint of obtrusive accent’ (BBC Music Magazine)

‘Throughout this recording the choir demonstrates the exceeding beauty of Crecquillon’s music. At certain moments it sears the soul so that one can hardly stand to listen to it, like too bright a light makes one want to close [one's] eyes. What could possibly be more fitting for a discussion of death and everlasting life?’ (Sacred Music, USA)

‘Apart from the group's accomplished vocal work, the strong point of this disc is the profound understanding that is conveyed in the notes by Martin Ham. We can expect more of this repertoire from the group. But don't wait to get this one, for it is neatly organized and beautifully sung’ (Fanfare, USA)

‘An unqualified delight’ (MusicWeb International)

‘A superbly balanced and expressive performance by The Brabant Ensemble shows the work to great advantage’ (Early Music Review)

«Le chef et musicologue anglais révèle un rare talent de découvreur. Construire un programme autour de Mort m'a privé est une idée merveilleuse» (Diapason, France)

‘This recording sets an example of how things should be done … a programme that is both intellectually and musically attractive’ (Goldberg)

‘A gem of a CD’ (Gramophone)

‘The performances are excellent; supported by the well-captured acoustic of Merton College, Oxford, the singers negotiate the often highly imitative textures with great fluency. Well-shaped phrasing, good balance and generally subtle dynamic inflexions further contribute to the beauty of the sound … these are really very fine performances of rarely heard music’ (International Record Review)

‘A totally desirable issue’ (Fanfare, USA)