‘One of Mozart's most carefree yet paradoxically profound healing masterpieces, played with skill and love … the most glowing and perceptive account since the Grumiaux's, and deserves to win friends for this wonderful music among a younger generation of music-lovers’ (The Sunday Times)

‘Now eclipses Grumiaux as my top recommendation in both works’ (BBC Music Magazine)

‘This is a wonderful recording … as good a performance of both splendid works as you are likely to encounter for a long time’ (Fanfare, USA)

‘A crack group that benefits from Hyperion's extremely rich, well-balanced recording’ (Fanfare, USA)

‘Grauwels' needle-sharp delineation and robust attack are matched by springing, gutsy string playing’ (The Times)

«Cette flûte eminemment légère, ductile, fugace. a un charme fou» (Le Monde de la Musique, France)

‘Hanover Band sounds terrific; the sonics are vivid and detailed, yet resonant. And Pip Eastop, principal horn of the London Chamber Orchestra, is a remarkable player with great skill an amazing high register, and a penchant for pushing the boundaries in cadenzas’ (American Record Guide)

'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)