‘The Florestans … relish the degree to which Haydn constantly challenges his listeners with unexpected turns of phrase and audacious modulations … the first movement of Hob XV:30 is presented as a truly expansive Allegro moderato with bold dramatic gestures that project the work as almost Beethovenian in character … violinist Anthony Marwood shapes the expressive melody with almost Schubertian warmth … these warmly recorded performances offer plenty of musical insight and deserve a positive recommendation’ (BBC Music Magazine)

‘Haydn … would have admired Susan Tomes' quick wit and dexterity … this is Haydn stimulated by instrument and player into some of his most original music, obviously relishing the unusual textures, which are paid proper respect by the attentive recording as well as by the players … this is all brilliant ensemble playing by thoughtful and enthusiastic as well as skilful performers’ (International Record Review)

‘The Florestans display their customary virtuosity, elegance and caprice in these outwardly easy-going works, once again capturing the full (and deceptively wide) emotional range of what may appear on the surface to be merely domestic entertainment music … a highlight of the year’ (Gramophone)

‘Forthright, lucid. sharp-witted performances’ (Gramophone)

„Das Salomon-Quartett erweist sich als Glücksfall für eine derartig reiche und vielschichtige Musik“ (Fono Forum, Germany)

‘Forthright, lucid, sharp-witted performances’ (Gramophone)

„Das Salomon-Quartett erweist sich als Glücksfall für eine derartig reiche und vielschichtige Musik“ (Fono Forum, Germany)

‘Positively beautiful … outstanding’ (BBC Record Review)

‘These superb LHQ performances set the standard for Haydn interpretation, yet the two CDs are available for the price of one’ (MusicWeb International)

‘Those who want a 'period' performance should not hesitate—they are unlikely to hear any better of its kind. Articulation is light, precise yet full of nuance; vibrato is scarcely detectable yet intonation is immaculate; the whole texture shines’ (BBC Music Magazine)

‘These musicians arrest attention by the variety of their bowing and articulation. They lean into notes, swelling and contracting the sound … to heighten the potential for expression … a very imaginative interpretation’ (Gramophone)

‘This splendid recording … Catherine Manson brings a nice rubato to the violin's flight in the first movement of Quartet No 5, and makes the most of the operatic recitative in the Adagio’ (Classic FM Magazine)