‘On this engaging tour of the melancholy but colourful world of the Lawes brothers we are conducted by alto Robin Blaze and lutenist Elizabeth Kenny, both at the height of their powers. Blaze soars with ease throughout the alto range while Kenny's sympathetic accompanimnet is a model of its kind’ (Early Music Forum of Scotland News, Scotland)

‘This delicious survey gives a fair idea of the brothers' range, extending from William Lawes' simple Gather your rosebuds to Henry's limpid Sweet Echo … suavely and sensually performed by Blaze and Kenny … the disc offers an exquisite image of a little-understood era’ (The Independent on Sunday)

‘The Lawes brothers tend to be thought of mainly as composers of instrumental consort music, but this outstanding disc reveals them in a fascinating new light as highly accomplished songwriters … William Lawes's searingly tragic Oh, let me still and silent lie and Henry's darkly atmospheric A Tale out of Anacreon are particularly fine examples of the impassioned declamatory soliloquy … this sensitivity is fully matched by Robin Blaze, in whom the brothers have found their ideal interpreter. His exquisitely controlled expressiveness ensures that the tiniest emotional nuance in text and music makes its best effect’ (The Daily Telegraph)

‘This music has infinite charm … and I can only beg you not to deprive yourself of it. The recording is well made too—exceptionally so’ (Hi-Fi News)

‘A valuable bit of attention to a composer who is not well served at the present time. Not to be missed’ (Fanfare, USA)

‘A persuasive introducton to arresting music’ (Classic CD)

‘This really is a very exciting project. I can't wait for the next disc!’ (Early Music Review)

‘Elizabeth Wallfisch, one of the Baroque violin's most natural technicians, is well able to negotiate the difficulties of this music with confidence, showing no fear of a fall from her high-lying melodies or gymnastic strong-crossing’ (Gramophone)

‘This disc, played by someone I once referred to as 'Locatelli incarnate', dismisses the technical difficulties with ease’ (Early Music Review)

‘Polished and spirited performances brimming with joie de vivre and musicality’ (Early Music)

‘Superb ensemble musicianship and a rare interpretive lucidity. Wonderful playing’ (Classic CD)

‘The quintissential English cathedral ambience evoked by the choir, organ and acoustic of Wells is well captured by Hyperion and perfectly serves the unmistakable muscular language of Kenneth Leighton's music’ (Choir & Organ)