'Montgomery plays the notoriously difficult valveless horn with extreme dexterity and skill, revealing a wide range of tones. The orchestra provides tight and sparkling accompaniment' (Classic FM)» More

'Montgomery slips into their varying moods through affecting phrasing, resilient changes in tempo, accentuation and dynamics, partnered by the OAE at its best. Well worth owning' (Gramophone)

'John Mark Aisnley n'a guère son pareil pour incarner—d'une parole, d'une phrase—la figure du héros magnanime … cette version sans disgrâce vocale vaut d'être entendue' (Diapason, France)» More

'The Orchestra of Classical Opera play supremely well … Ian Page’s unobtrusive pacing of the pastoral mini-drama and sage weighting of orchestrally accompanied recitatives pull the listener along gently, and each of Mozart’s perfectly etched ritornellos is articulated with impeccable balance and shape. The continuo group … ensures that recitatives flow naturally' (Gramophone)

‘Most of the music here is performed by the good soloists and enthusiastic chorus with gusto, so the chief impression is of lusty praise, though there are some delightfully fairly florid solo passages where Mozart's adoration of the female voice is more evident than his devotion to God’ (BBC Music Magazine)

‘The music itself is joyous and comforting. The St Paul’s Cathedral Choir (comprising boy choristers and Vicars Choral) sings superbly, the playing of the St Paul’s Mozart Orchestra (very much ‘authentic’) is poised and polished, and there is a notable contribution from Simon Johnson on the lovely organ of St Giles’ Cripplegate, where these performances were so excellently recorded. Add in four fine vocal soloists and we have sacred music that is uplifting and engaging. Texts are included and the conductor writes the helpful booklet note’ (Time Out)

‘Mozart's musical planning is exemplary; this is a subtly devised and well-executed record’ (International Record Review)

'This excellent recording is probably the one that Mozart completists will want to have' (The Daily Telegraph)» More

'This performance is as committed and engaging if you could wish for' (BBC Radio 3 CD Review)» More

‘Hewitt draws great delicacy from her Fazioli piano … strongly recommended’ (Liverpool Daily Post)

‘Angela Hewitt’s recording is perfection itself—not just in how precisely she places each and every note, but in how she and the orchestra sound as if they are breathing and working as one’ (Musical Toronto, Canada)

‘The success of her performances of K595 and the G major, K453, rests in part on Hewitt's feeling for Mozart's remarkable harmonic and tonal range in both works … Mozart gives us plenty more surprises … Hewitt relishes these, as if freshly exploring and delighting in them … these characteristics of intelligent delight in the music also mark Hewitt's performance of the G major Concerto … it is brilliantly done, and this is a brilliant performance all round’ (International Record Review)