‘Bohuslav Matoušek, as he has shown in the previous two volumes in his series, is a master interpreter of Martinů's music, but his wonderfully intense playing of the Rhapsody reveals him as a superb viola player as well … magnificently recorded, with excellent documentation. Buy it’ (Dominion Post, New Zealand)

‘The performance of the two-movement Rhapsody-Concerto is exemplary … Matoušek exchanges violin for viola and luxuriates in the radiant lyricism of Martinů's last period. Hogwood shapes the structures with magnificent insight and, with the orchetsra, provides attentive accompaniment throughout’ (BBC Music Magazine)

‘In the Rhapsody-Concerto Matoušek shows himself as adept a viola-player as he is a violinist, sweeter-toned than Telecky and a match for Imai and Bukac … this third volume in Hyperion's invaluable series is as desirable as its predecessors: highly recommended’ (Gramophone)

‘Martinů was prolific in every field, but perhaps no more so than in the concerto, where he explored a variety of forms and instrumental combinations … Bohuslav Matoušek plays all three works here with energy and an imaginative range of tonal colour, while the accompaniments from Christopher Hogwood and the Czech orchestra are equally resourceful’ (The Daily Telegraph)

‘Josef Suk set the benchmark for both concertos but his recordings … have been overtaken by this newcomer … my recommendation is for the Hyperion set as a whole’ (Gramophone)

‘The Second Concerto is one of Martinů's great masterpieces. Overtly romantic, the Concerto has a huge emotional range; the first movement alone encapsulates epic tragedy and exultation in a strongly symphonic developmental frame which never gets in the way of ravishing lyricism. In these beautifully recorded performances, both Christopher Hogwood and Bohuslav Matoušek have a profound understanding of Martinů's style and the Czech Philharmonic responds with radiant playing … there is no finer performance of the First Concerto available’ (BBC Music Magazine)

‘A praiseworthy achievement in every respect … Carol Madalin sings both works beautifully’ (Gramophone)

‘A glorious work [and] a most lovely record. Recommended with all possible enthusiasm’ (The Penguin Guide to Compact Discs)

‘The energy in the boys' voices is thrilling: they sear through the complex texture with evangelical zeal … this recording showcases the contrasts of style which made the 16th century such a fertile period of composition, and shows how the tradition of singing services at Westminster Abbey has continued unbroken for so many centuries’ (Early Music Review)

‘Sheppard's sublime Libera nos unfolds like a hothouse flower amid other blooms from Tye, Tallis, Mundy and White’ (The Observer)

‘In this brilliantly conceived programme … O'Donnell's superlative choir are peerless’ (The Sunday Times)

‘This latest addition to Hyperion's excellent Westminster Abbey series presents a fascinating snapshot of the musical upheavals created by Queen Mary's death and Elizabeth I's accession in 1558. Sheppard's Second Evening Service, composed in that year in a syllabic yet sonorously polyphonic style, marks the watershed between richly textured and highly elaborated Latin pieces, such as Mundy's Vox Patris caelestis, and the beautiful simplicity of Byrd's Teach me, O Lord. Recusant musical activity is also represented by Byrd's profoundly moving Ne irascaris’ (The Daily Telegraph)