‘The performances of this glorious music—and there is so much more that could be said about it—are in general extremely rewarding … the playing is technically of a high order and the excellent balance also adds to the pleasures of a set that will delight anyone collecting a complete cycle now nearing completion’ (Early Music Review)

‘There is something for every pianophile here’ (The Sunday Times)» More

‘Performances of Machaut which are as good as any of us might ever have expected to encounter’ (MusicWeb International)» More

‘This is a very fine disc indeed. By now we’ve come to take for granted that any recording by the Choir of Trinity College, Cambridge will feature singing of the highest quality; that’s emphatically the case here. It must be an extraordinarily stimulating experience to be a member of this choir because not only does Stephen Layton demand and obtain the highest possible standards but also, he continually presents his young singers with the rewarding challenge of expanding their repertoire horizons, as he has done with this programme … the sessions were safely in the experienced hands of engineer David Hinitt and producer Adrian Peacock. They work regularly with this choir and this venue; it shows. The recording of all the pieces is first rate. The production also benefits from excellent booklet notes by Francis Pott. It’s very illuminating to read the insights of one distinguished composer of choral works into the music of another. I’m delighted that I’ve made the acquaintance of the music of Jaakko Mäntyjärvi through this outstanding CD’ (MusicWeb International)

„Es macht Freude, in diese ferne Welt einzutauchen, weil sie das Orlando Consort ganz nah an uns ranholt: ausdrucksvoll, präzise, voller Intensität. Man mag einwenden, dass die rein vokale Interpretation nur eine Facette der vielfältigeren historischen Realität abbildet, in der wohl auch Instrumente eine Rolle spielten. Aber farbig ist diese Aufnahme dennoch: im steten Wechsel zwischen ein-, zwei- und dreistimmigen Stücken, aber auch in den individuellen Timbres der Sänger, die sich klar voneinander abheben und mal dem einen, mal dem anderen den Vortritt lassen. Jede Interpretation ist klug durchdacht, jede offene Frage plausibel gelöst, basierend auf einer nagelneuen wissenschaftlichen Notenausgabe. So lässt uns diese kraftvolle, schnörkellose, nuancenreiche Aufnahme tief eintauchen in Machaut kunstvolle Gegenwelt, die die Nöte der Zeit vergessen lässt“ (BR Klassik, Germany)

‘Fabulous playing’ (BBC Record Review)

‘Not only does the Brabant Ensemble give us splendid performances of all the music, to convince us that these are far from sweepings from the workshop floor, Stephen Rice brings us up to date on Josquin research, including what little is still known about his ancestry and his life … without boring the reader with too much detail, the notes also address the issue of what is certainly Josquin, probably Josquin, partly Josquin, and not Josquin—as controversial as some of the attributions of paintings of the period. All the music here is free from asterisks in the authoritative edition, though some of it contains additions from later hands. At the risk of appearing to be fixated on Josquin, I’m already considering this recording as one of my six choices for Recording of the Year 2021’ (MusicWeb International)

‘I doubt if any other group will ever excel this performance … an essential purchase for the admirers of Machaut’s music, and … a good place for beginners to get to know it’ (MusicWeb International)

«On connaît Stephen Hough comme un grand virtuose, mais aussi comme un grand penseur. Il plonge corps et âme dans les tableaux angoissés (Funérailles de Liszt) sur son piano Yamaha CFX aux couleurs plus ouvertes et brillantes que mordorées» (Le Devoir)» More

‘As Britain’s elder-statesman pianist, Stephen Hough has always thought outside the box, making unexpected juxtapositions, exhuming forgotten treasures, and interlarding things with compositions of his own. This CD offers a tour d’horizon of works on the theme of death, but there’s nothing morbid about it … with Hough, it’s needless to add that the pianism is immaculate throughout’ (The Independent)» More

‘Namoradze captures the magic and romance of these miniature masterpieces [Fragments from Hans Andersen] to perfection … [he] relishes the insouciant romanticism and exuberant virtuosity of the Concert Study No 1 in G Flat; but this almost feels like a warm-up for the Lisztian (Mephistophelian?) Concert Study No 2 in F. Both are tremendous fun to listen to, and no doubt to play—providing you’re equipped with a technique such as the present performer’s!’ (Limelight, Australia)» More

‘It’s early days, but I’ve already earmarked this young Georgian pianist’s dazzling debut disc as a potential Recording of the Year: his sheer technical brilliance will make you catch your breath time and again, but he’s also a born story-teller, bringing Andersen’s Metal Pig and Tin Soldier to life with an abundance of charm, wit and warmth. Despite their rather utilitarian titles, the twelve Op 46 studies are scarcely less characterful in his hands, the alla marcia exercise ‘for the glissando’ a particular delight’ (Presto Classical)