‘High vocal standards … a fine introduction to some rare and satisfying repertoire’ (The Observer)

‘The music, direct in manner and imposing in effect, should appeal to anyone who already loves the sacred choral works of Rachmaninov or Tchaikovsky’ (The Irish Times)

‘This is a disc that reaffirms Schnittke as one of the most significant composers of the last century and the Holst Singers as a leading chorus on the international stage’ (bbc.co.uk)

‘Spinetingling … music great for contemplation, and a terrific showcase for the choir’s stamina’ (The Times)

‘If the concerto does not ultimately go down as one of the masterpieces of the late twentieth century choral repertoire, I shall be staggered’ (International Record Review)

‘One of the most imposing of all Schnittke's later works … superbly performed’ (The Guardian)

‘A superb and revealing performance of one of Schnittke's most approachable works … the technical skill of the Holst Singers is truly impressive … there is a complete sense of security and enjoyment from the highest floating soprano to the lowest bass rumblings’ (Gramophone)

‘Excellent performances throughout from orchestra, soloists and choruses—rarely have the lush textures of Schoenberg’s late-Romantic cantata sounded this fresh’ (Gramophone)

'How fitting that the opening concert of Esa-Pekka Salonen’s Philharmonia series 'City of Dreams: Vienna 1900-1935' should conclude with the mightiest wake-up call in all music … part two’s 'Wild Hunt' rose from muted Wagner tubas (the eeriest sound in music) to the all bones and chain rattling rampage of the undead (Schoenberg’s surreal take on the summoning of the vassals from Wagner’s Götterdämmerung) to vivid effect while the 'Klaus, the Jester' episode—Schoenberg’s scoring at its most fantastical—was despatched with great virtuosity' (The Independent)

'Sometimes less is not more. More is exhilarating … the music-making was superb … and what terrific soloists!' (The Times)

'Vienna—City of Dreams … looks set to be one of the musical highlights of 2009 if Esa-Pekka Salonen’s sensational account of Schoenberg’s seminal Gurrelieder at the Festival Hall last weekend proves typical … it was a brilliant, bold and generous masterstroke to open the festivities with Schoenberg’s song-symphonic epic … Salonen charts Schoenberg’s journey from darkness to light, from Romanticism to modernism, with an unerring command of his vast forces … he achieves an impressionistic transparency in Schoenberg’s lighter-scored pages, suggesting the influence of Debussy' (The Sunday Times)

‘The music, a wonderful discovery, is polyphony of the highest quality, and Cinquecento marries smooth ensemble to marvellous interpretational vision. The recorded sound is excellent, doing full justice to their almost instrumental sonorities’ (Choir & Organ)