‘Into thy hands, using as texts two 12th-century prayers, offers evidence that modern religious choral music need not descend into wince-inducing happy-clappy idiocy. Dove charms and beguiles us, and the performances by the Wells Cathedral Choir under Matthew Owens are faultless. There’s also the recording quality, with the cathedral acoustic offering just enough reverberance to give the voices a heavenly glow’ (TheArtsDesk.com)

‘Wells is currently enjoying a superb top line, rewardingly displayed in this collection of Jonathan Dove's radiant choral works, including a first recording of his sparkling Missa Brevis’ (The Observer)

‘Matthew Owens has clearly prepared the choir with scrupulous sensitivity, and conducts with an incisive freshness … Dove's music is splendidly effective and brightly expressive’ (BBC Music Magazine)

‘Wells must currently stand as England's finest cathedral choir, and its legacy of promoting contemporary church music will remain long after every treble voice here has become a baritone, tenor or bass … as it stands today, that top line has unfailing precision of pitch and unaffected beauty of tone, while the men possess the flexibility and collective musicianship to underlay that top line with impeccable textural clarity and satisfying tonal depth … few will not respond to the sparkling and angelic 'Wellcome, all wonders in one sight!' … while 'Run, shepherds, run!' … adds a moment of high drama, reminding us vividly of Dove's operatic credentials … this disc offers some moments of pure magic and many truly uplifting experiences’ (International Record Review)

‘Dove's fresh, diatonic idiom is coupled to a matchless sense of word-setting … he writes most gratefully for the voice, with the intensity of Kenneth Leighton, the bravura of Britten and the timeless ecstasy of Tavener … the Wells choristers tackle everything with aplomb, élan and evident enjoyment’ (Gramophone)

'The performance is a good one. Nicky Spence sings expressively and his timbre suits the music very well. The combined forces of the Portsmouth Grammar School Chamber Choir and the Oxford Bach Choir make a very good showing and I particularly appreciated their clarity of diction. The children’s choir sing confidently if not always immaculately. The London Mozart Players bring bite or finesse to the orchestral score depending on the requirements at any one time. Nicholas Cleobury secures a performance of commitment and conviction from all his musicians' (MusicWeb International)» More

‘James Bowman’s usual ease of tone is in full evidence here. He gives us meltingly sweet, gorgeous, resonant high notes, and fluidity of vocal line. Meanwhile, David Miller’s lute playing is sensitive and agile. Whether pleading for God’s redemption or wooing a lover, both singer and lutenist capture the word painting which is such a feature and strength of these songs. This is one to savour’ (bbc.co.uk)

‘Absorbingly interesting and aurally delightful. Exemplary recording. I do not know of a better recording of Renaissance instruments than this one’ (Hi-Fi News)

‘Exquisite diction, studied and pure pronunciation, warm and burnished vocal tone, endless breath support. The incredibly long note at the end of Sorrow, stay will take your breath away, although Padmore sounds like he had some left over. Elizabeth Kenny, a distinguished lutenist is a sensitive partner, allowing Padmore to anchor the ends of phrases, add rhythmic touches to important words, and treat repeated phrases with an eye toward variation … the warm sound, captured in London's All Saints Church, renders the fragility of the genre, music that is meant to be heard from as close as possible, without introducing too much distracting detail’ (IonArts.com)

‘Padmore sounds genial, worldly, relaxed. He can be touchingly tender at times: he has an affecting vibrato, which he uses effectively … his voice is full, his enunciation clear’ (Fanfare, USA)

‘Having displayed Handelian virtuosity in his highly acclaimed solo release of last year, Padmore brings a more focused drama to his performance here. Kenny's sparse and precise accompaniment allows him to explore his voice as an instrument, sometimes mellow and resonant, sometimes cleaner, reedier, but never resorting to the sort of hollow breathiness that can taint exposed recital work. There is a great control of expression and Padmore's sensitive ornamentation makes the music his own—according to the project's theme—without garish disfigurement. The simple cover slip provides lyrics and detailed notes by Kenny, though Padmore's immaculate diction renders the former almost superfluous’ (MusicOHM.com)

‘A good singer of lute-song repertoire needs refined poetic understanding, a clear voice … and an especially supple and easy top range. A real master also has the ability to bring special insight to those songs that often seem simple or repetitive. On an even higher level is Mark Padmore, who does all this with a winning spontaneity that makes even Dowland chestnuts sound fresh and true … he has a lovely way of sculpting a phrase … his voice can dip and soar with astonishing beauty and drama’ (Opera News)