‘There are continuities, coincidences, parallels and surprises in store for the inquisitive collector. Isserlis plays beautifully and is splendidly recorded’ (MusicWeb International)» More

‘The Nash’s previous Bruch disc on Hyperion—comprising the string quintets and string Octet—was intelligently conceived and magnificently played, making the case for Bruch as the pre-eminent disciple (if not quite the equal) of Schumann and Brahms. I’m delighted to say that this new release only strengthens that impression … these are performances to make you realise that you’ve underestimated Bruch—and to leave you very happily corrected’ (Gramophone)

‘Deploying their familiar finesse (immaculate tuning and ensemble) and care for detail, the Takács do brother and sister proud … [they] create a magical sense of time suspended at the climax of the first movement’s development [in Op 13], while leader Edward Dusinberre is a model of eloquence and restrained pathos in the finale’s recitatives. The cathartic ending is truly cantando e dolce, as Mendelssohn requests. With their whiplash attack and unfailing attention to Mendelssohn’s disruptive inner voices, the Takács are just as impressive in the fevered world of the late F minor Quartet. The second movement … is properly remorseless, the Adagio generously phrased and coloured, enhanced by expressive touches of portamento. At the Takács’s relatively flowing tempo this searching movement, surely a Requiem for Fanny, unfolds against the background of a funeral march. They make the most, too, of the finale’s unnerving juxtapositions of smouldering disquiet and explosive violence, culminating in a final page of barely controlled delirium … if you’re hovering, Hyperion’s superior presentation, with a wide-ranging essay from Mendelssohn scholar Larry Todd, may clinch it’ (Gramophone)

‘None of the usual collection of well-known carols and their many different arrangements here! Instead, a feast of 'sacred treasures' of the 16th and early 17th cenruries … throughout, the tone of the singers, the blend and ensemble of the choir and the attention to the texts are superb, and Charles Cole and Anita Morrison, the voice trainer, are to be congratulated on such a feast of excellent music-making which will easily rival many of our cathedral and collegiate choirs’ (Cathedral Music)» More

‘To Hough, Chopin's Nocturnes are 'some of the finest operatic arias ever written.' He makes us believe it with the bel canto qualities of his playing—the lyrical melodies, the drama, the tenderness, the subtle changes of colour as though we're listening to different voices in each nocturne. Chopin's composed ornamentation is spun with effortless elegance; the rubato, the subtly shifting speeds, feel instinctive’ (BBC Record Review)

‘Their performance of Fanny Mendelssohn's E flat major String Quartet is an eloquent one … this [album] is well worth it for the combination of brother and sister’ (BBC Record Review)

‘Their performance of Fanny Mendelssohn's E flat major String Quartet is an eloquent one … this [album] is well worth it for the combination of brother and sister’ (BBC Record Review)

‘I would find it extremely difficult, if not somewhat churlish, to find anything negative to say about any aspect of this new Hyperion CD. The performances are second to none, in both musical and stylistic integrity. Shelley has judged the dynamic balance between piano and orchestra with the utmost sensitivity, and, as mentioned earlier, the LMP strings provide the perfect support, especially with their finely-judged use of vibrato, which sounds absolutely spot on for the music’s chronology. Add to this the admirable fidelity of the recording, and the quality of the accompanying brochure, and, for my money at least, you have the perfect product. That it also affords some real insight into the evolution of the piano concerto genre during this period, is just one further reason to audition this highly-enjoyable new release yourself’ (MusicWeb International)» More

‘Every item in this thoughtful programme soothes or excites with its complex beauties of form or texture. The meatiest pieces are the four by Josquin des Prez (this year is the 500th anniversary of his death), although the music of his colleagues and rivals never disappoints, especially Willaert's Infelix ego, setting words by the fiery preacher Savonarola … soaring magic from The Gesualdo Six’ (The Times)

‘Howard Shelley makes the most of Benda’s ear-catching and surprisingly volatile piano figuration in the fast movements and brings a soulful quality to the melodies in the slow movements … the London Mozart Players are clearly at home in this repertoire and in the slow movements orchestra and pianist make the most of Benda’s imaginative textures’ (BBC Music Magazine)» More

‘The Nash Ensemble has done well by Max Bruch in the past … I would certainly suggest this fine all-Bruch programme is a very good choice’ (MusicWeb International)» More

‘As with all of their recordings, Cinquecento Renaissance Vokal sound fabulous in this music. Recorded in a suitably resonant acoustic, the balance is perfect, and the unified sonority and superb intonation and articulation from this vocal quintet gives the impression of something grander than such compact forces might lead you to expect. This release joins their recording of Regnart’s Missa Super Oeniades Nymphae, and should be snapped up without delay’ (MusicWeb International)» More