‘King's performances are as attractive as the music, with fine solos from Carolyn Sampson and Hilary Summers’ (The Sunday Times)

‘A good version of the Requiem appeared last year … but this new one has the edge, in the sharpness of the orchestral contribution (the crucial brass register more pungently), the clarity and attack of the choir, and in the quality of the solo quartet, led by the vernal soprano of Carolyn Sampson. In both works Robert King chooses convincing tempos, keeps the rhythms vital and, in the Mass, never tries to drive Haydn's amiable, graceful music too hard. If you love Mozart's and Joseph Haydn's church music, you can hardly fail to enjoy this’ (BBC Music Magazine)

‘Both performances, from Robert King and his Consort and Choir, are outstanding. The playing is beautifully honed, the choral singing at once clear and thrilling, particularly superb in both the hushed, devotional opening of the Requiem and the elation and sweep of the Ursuline Mass. There's a fine quartet of soloists too, with an exceptional contribution from the much undervalued contralto Hilary Summers. The whole thing serves as a welcome reminder that there are still indeed lost masterpieces out there, waiting to be discovered’ (The Guardian)

‘An issue of great historical interest … performances (lovely solo and choral singing) are excellent: so is Peter Holman's scholarship’ (MusicWeb International)

‘Music both major and relatively elementary, but all of it has charm’ (Fanfare, USA)

‘A fascinating collection … wonderfully atmospheric’ (Gramophone)

‘A jewel of a disc’ (Amazon.co.uk)

'The concerts of Warren-Green and the London Chamber Orchestra at St John’s, Smith Square aren’t often noticed in the press, but their large regular audience knows that they are some of the most exciting in London. Their Beethoven Ninth in June was one of the best I have ever heard. The Eighth, recorded at a concert last year, is given a performance of ferocious energy appropriate to such a physical work (with two of Beethoven’s very rare triple fortes)—a first-violin slip in the allegretto is quickly put right—but also has wit and exemplary clarity. Haydn 85, directed by Rosemary Furniss, is incisive and warmly expressive, but Melvyn Tan’s approach to the Mozart concerto, despite fine moments, seems to me rather edgy and overdramatic' (The Times)

'No information is given as to whether the London Chamber Orchestra uses period instruments or modern ones, but the style of these performance, however arrived at, is near-ideal, with lean but not undernourished string sound and crisp timpani. Tan’s engaging way with Mozart’s Concerto No 12 intersects nicely with the orchestra’s freshly minted accompaniment. Rosemary Furniss’s direction of Haydn’s ‘La Reine’ Symphony captures the music’s grandeur as well as its grace. And the subversive originality and rhythmic drive of Beethoven’s wackiest symphony come roaring happily across' (Classic FM Magazine)

‘Hamelin's masterly control to every little note shows itself to full advantage. This disc offers serious competition … Les Violons du Roy are as lively and as rhythmically solid as Hamelin’ (Pianist)

‘Hamelin's songful legato in the F major's largo cantabile and bravura in the presto finales make the strongest possible cases for these works, and I don't know a more exhilarating account of the D major’ (The Sunday Times)

‘Pianist Marc-André Hamelin and Les Violons du Roy play the gypsy rondo of the D major Concerto with irresistible verve … the finale of the G major Concerto is a dazzling piece too … Hamelin's showmanship and the eloquence of his slow movements is an added bonus’ (BBC Music Magazine)