‘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

«« Nouveau » Quatuor Takács ? Il s’agit en effet du premier CD d’une équipe modifiée … Disons-le d’emblée : l’association actuelle nous comble d’aise et va sans doute, comme par le passé, orner de nouveaux fleurons une discographie déjà riche. On annonce, toujours pour le label Hyperion qui a succédé à Decca en 2005, des quatuors de Haydn pour 2022 … Le Quatuor Takács, de son côté, met tout de suite la sœur en lumière, en lui donnant la première place du programme. On savoure ainsi cette partition d’une vingtaine de minutes qui date de 1834, ne semble jamais avoir été jouée du vivant de Fanny … L’idée de placer dans le programme l’opus 80 juste après le quatuor de Fanny assure une dimension poignante à la relation fraternelle. Felix signe, en quelque sorte, un éloge funèbre à la mémoire de Fanny dans cette partition douloureuse achevée en septembre 1847. Quatre mois après l’irréparable perte, Felix clame son insupportable douleur dans le mouvement initial, confrontant l’auditeur à une sorte de rage désespérée qui n’est pas courante dans ses compositions. Après un Allegro où l’on sent la torture qui le dévore, un sublime et déchirant Adagio (en recherche d’apaisement ?) précède l’Allegro molto final, qui laisse pantois d’émotion, le Quatuor Takács arrivant presque à rendre concrètes les larmes que l’on entend se déverser dans les dernières mesures. On n’en sort pas indemne» (Crescendo Magazine, Belgium)

«« Nouveau » Quatuor Takács ? Il s’agit en effet du premier CD d’une équipe modifiée … Disons-le d’emblée : l’association actuelle nous comble d’aise et va sans doute, comme par le passé, orner de nouveaux fleurons une discographie déjà riche. On annonce, toujours pour le label Hyperion qui a succédé à Decca en 2005, des quatuors de Haydn pour 2022 … Le Quatuor Takács, de son côté, met tout de suite la sœur en lumière, en lui donnant la première place du programme. On savoure ainsi cette partition d’une vingtaine de minutes qui date de 1834, ne semble jamais avoir été jouée du vivant de Fanny … L’idée de placer dans le programme l’opus 80 juste après le quatuor de Fanny assure une dimension poignante à la relation fraternelle. Felix signe, en quelque sorte, un éloge funèbre à la mémoire de Fanny dans cette partition douloureuse achevée en septembre 1847. Quatre mois après l’irréparable perte, Felix clame son insupportable douleur dans le mouvement initial, confrontant l’auditeur à une sorte de rage désespérée qui n’est pas courante dans ses compositions. Après un Allegro où l’on sent la torture qui le dévore, un sublime et déchirant Adagio (en recherche d’apaisement ?) précède l’Allegro molto final, qui laisse pantois d’émotion, le Quatuor Takács arrivant presque à rendre concrètes les larmes que l’on entend se déverser dans les dernières mesures. On n’en sort pas indemne» (Crescendo Magazine, Belgium)

‘This complete set of Chopin Nocturnes … is a sure-fire winner, fit to be placed alongside recordings by giants of the past, such as my particular favourite, Arthur Rubinstein … even if you know the Nocturnes (or think you do), and are well stocked with recordings, make room for this one, augmented as it is by five other charming but spurious nocturnes, once thought to be by Chopin. Some pianists think a Chopin recital is all about them, and their excessive poetic feelings. Hough thinks these Nocturnes, to which Chopin was devoted, are all about the composer. His reticence does Chopin’s genius a huge service, especially when his playing is so refined, and his dynamics and tempi so perfectly judged’ (The Mail on Sunday)

‘The Gesualdo Six are well placed to record this music. They’re very good at looking around the repertoire and working out what will fit with everything else … I love anthologies, and I love this particular one … that counter-tenor sound, it’s out of this world. I should say that my favourite recording of this [Intemerata Dei mater] for many, many years has been the 1976 David Munrow recording and I think this actually outdoes it. I shouldn’t say that because Munrow is absolutely my hero, but I think this is even nicer’ (BBC Record Review)

‘They do make such a beautiful sound … the secret is five wonderful musicians and singers (from five different countries—Austria, Belgium, England, Germany and Switzerland) in the right acoustic, and that really works for this music. They place the microphones exactly right so that we can ‘get’ the building, and the singers can feel the support of that, but we can hear all the detail. That’s what I love about these single-voice recordings, in that actually you can hear the detail of all the parts, and you can with Cinquecento’ (BBC Record Review)

‘British Solo Cello Music brings together works by Benjamin Britten, William Walton, John Gardner, Frank Merrick and Thomas Adès. Many have personal connections with Isserlis, recounted in a liner note full enough to act as a social history of 20th-century cello music … Isserlis brings all his intelligence and passion to this impassioned music [the Britten Cello Suite] but offers other moods too’ (The Guardian)» More

‘There is huge entertainment value in this sparkling CD … outstanding’ (Choir & Organ)» More