‘The more I hear of Wells Cathedral Choir the more impressed I am. Matthew Owens has certainly brought these choristers to the very peak of excellence; it ranks as probably the finest English cathedral choir at the moment … the two large-scale works are delivered with great power and breadth, David Bednall's organ accompaniments as full of colour and pizzazz as one could want. It all adds up to stunning performances of outstanding music … Leighton's memory is well served in this superb release’ (Gramophone)

'L'Estrange's works add a jazz-infused chordal depth and a roving harmonic eye to Howell's declamatory muscularity and modal palette. It's attractive, approachable music, with nothing contrived or patronising about it' (Gramophone)

'The album 'Prayers for Mankind', subtitled 'A Symphony of Prayers of Father Alexander Men,' celebrates the life and writings of Father Alexander Men, a Russian Orthodox priest who was brutally murdered in 1990 on his way to Sunday morning Liturgy … the music is powerfully inspired by and reflective of the beauty and profound meaning of the words. The professional English chamber choir Tenebrae negotiates the musical challenges of the score with tremendous confidence, skill, and bravura … this album will be enjoyed by all lovers of contemporary choral music and fine choral singing' (Musica Russia, USA)» More

'This is the first work by Alexander Levine (born in Moscow in 1955, now living in the West) I have heard. It follows the noble line of russian settings of The Divine Liturgy of St John Chrysostom by Tchaikovsky, Rachmaninoff, Gretchaninov, Kastalsky et al, expressed in a manner with which none of Levine's predecessors would have felt uncomfortable. If neither Levine's musical language nor style is 'modern', the genuine feel of the work is impressive. It is beautifully recorded and performed, although I suspect the final part, 'Blessed be the name of the Lord', would have benefitted from a slower tempo and a decrease in dynamic. But this remains an interesting and important album' (Musical Opinion)

'The journey started with a pilgrimage to the grave of Father Alexander Men at Novaya Derevnya near Moscow. 'When I returned to London', says Alexander Levine, 'I had a strong feeling that I should start composing the music for the Liturgy straight away … I thought about this journey as the spiritual experience of a person who one day comes to the church to participate in a liturgical service, where prayers and music would cast upon him the joy of unification in spirit with the divinity of God through Jesus Christ.' The resulting composition certainly achieves this numinosity, with echoes of Tchaikovsky and Rachmaninov. The chamber choir Tenebrae under the direction of Nigel Short is in superlative voice and the recording at St Augustine's Church in Highbury, London, is crystal clear' (Cross Rhythms)» More

‘The three violin concertos … would happily stand comparison with Haydn's works in the genre. Soloists Francesco D'Orazio gives fine accounts of Lidarti's technically demanding music and his cadenzas are nicely in the style of the period … all four works reveal a composer with a keen sense of dramatic melody … these are all world premiere recordings, and violinists looking for new repertoire should certainly hear it’ (Early Music Today)

‘Christian Joseph Lidarti (1730–95) is another new name to learn and not forget again. Re-discovered for these premiere recordings by a Pisan vocal and instrumental ensemble, this is another composer to scotch the 'canon' which dominates concerts and recordings. Some 400 works of his can be found in the British Library and in a collection in Tuscany. These here are undated, but this eighteenth-century Italian composer bridges the baroque and classical periods. They are superbly realised by the consummate artistry and virtuosity of Francesco D'Orazio … an excellent first for Hyperion’ (MusicalPointers.co.uk)

‘Tunefulness, energy and general amiability … a true Classical period sensibility … the violin concertos are directed with verve and grace by the virtuoso soloist, Francesco D'Orazio … he is a lithe, elegant and characterful performer and his elaborate cadenzas are delightfully playful’ (Goldberg)

‘The enchantingly radiant quality of D'Orazio's playing and Lidarti's music … D'Orazio possesses just the right kind of lithe, flexible and elegant and pure sound this music cries out for, and he directs Auser Musici (familiar from an enchanting disc of Boccherini Flute Quintets) with flair, imagination and in the slow movements a moving sensitivity to line, dynamic and harmonic pacing’ (International Record Review)

‘An assurance of authenticity in the most meaningful sense, involving wholehearted commitment and the most thorough preparation on everyone’s part … absolutely glorious performances’ (Stereo Review)

‘It’s a gift for Hough, whose playing is stylish and assured … another winner. Fascinating, bold and fresh; a visit to the past without the smell of the museum. One of the most oddly attractive issues of the year so far’ (The Independent on Sunday)

‘This music makes heavy demands on the soloist, and Stephen Hough proves himself equal to the task in every respect … his playing has the sort of consummate ease and supreme conviction that few can match, and he gives the impression that he thoroughly enjoys the many challenges of Liebermann’s athletic piano writing … his playing is both rich in poetic insight and alive to the tonal allure of the score … an outstanding release that can be warmly recommended’ (Hi-Fi News)