‘Tremendous panache from the soloist and a play-it-for-all-it's-worth razzmatazz from conductor and orchestra … if a recording of Khachaturian’s concerto is wanted, this live performance makes a clear first choice. Thibaudet adds a selection of the composer’s solo piano pieces, including half a dozen of the Pictures of Childhood and the Masquerade Suite, all appealingly played’ (Financial Times)

‘The level of musical collaboration throughout this disc has remained peerless, the recorded production once more the courtesy of Andrew Keener’ (Audiophile Audition, USA)

‘The sensuous atmosphere of the mythical creature’s summer afternoon among nymphs and naiades [finds] new levels of intimacy in this arrangement by oboist and composer David Walter, and such a sensitive and deliciously coloured performance from The Nash Ensemble. Debussy’s String Quartet is here as well, but the other outstanding performances for me are the three sonatas, especially the contrast between Stephanie Gonley’s silvery sound in the Violin Sonata and the more muscular Adrian Brendel in the Cello Sonata … an excellent way to mark The Nash Ensemble’s sixtieth birthday’ (BBC Record Review)

‘The three sonatas out of a planned set of six that Debussy completed in the last years of his life are among the masterpieces of 20th-century chamber music, and it’s hard to think of a better way for the Nash Ensemble to mark their 60th anniversary than with a recording of these works, alongside Debussy’s String Quartet and an arrangement for 12 players of the Prélude à l’après-midi d’un faune … the performances of the three sonatas are all outstanding … great music played with all the warmth and understanding it needs’ (The Guardian)

‘So they did it. The Orlando Consort’s project to record the complete polyphonic chansons and motets is complete with a large measure of monophonic works included to boot … it is an epic achievement and both The Orlando Consort and Hyperion Records deserve hearty praise and thanks … let us be grateful … it is a wonderful legacy’ (MusicWeb International)

‘Under the careful control of its co-founder, Amelia Freedman, the suave and buoyant Nash Ensemble has been enhancing our lives for so many years (60 to be exact) that it’s easy to take the group’s accomplishments for granted. This Debussy album sharply reminds us why we shouldn’t … sixty years have told us that with the Nash Ensemble’s musicians, whatever their repertoire, nothing can ever really go wrong’ (The Times)» More

‘I really enjoyed returning to this version of Remède de Fortune after a year or so and I look forward to reviewing the next record in a week or so … here’s an idea for any history lover like me. Why not make a date with your armchair, your CD player, order one of Jonathan Sumption’s volumes of The Hundred Years War series or perhaps W. Mark Ormrod’s Edward III, pour yourself a glass of red wine and spend the evening in the fourteenth century with Machaut’s singers for accompaniment?’ (MusicWeb International)

‘There are two ways to listen to The Brabant Ensemble’s new recording, A monk’s life, both of which are highly satisfying. First, you can simply soak up the sounds of a top-notch vocal ensemble singing polyphony of the mid to late 16th century. Alternatively, you can follow the printed program and librettos, turning the 30 tracks into an intriguing biography of a nameless monk in late-Renaissance Germany … Stephen Rice and the Brabant conjure up a glorious environment for worship’ (Classical Voice North America)

‘Hamelin has a supreme command of the music’s architecture and of its pianistic demands. It’s a reading of leonine power and monumental artistic presence, a fusion of heroism and lyricism. The inexorable momentum of the opening movement just sweeps you along … Hamelin certainly hits the heights in this recording. I sincerely hope there’ll be more Beethoven to come from Hamelin, such has been the pleasure I’ve derived from this disc’ (MusicWeb International)

‘This is a superb programme mining a rich vein of post-Reformation music from German-speaking countries, all sung with the characteristic silvery tone of The Brabant Ensemble … this is superb—the singers constantly move between overlapping, sumptuous ars perfecta polyphony to quick-witted, snappy homophony, and they do it at every juncture with great style and fluency’ (Gramophone)

‘The OAE and soloist-director Steven Isserlis open with the D major Cello Concerto G479, a sunny work that suits Isserlis’s effervescent persona … Boccherini (himself a virtuoso cellist) showcases his instrument’s ability to soar into the stratosphere … nothing daunted, Isserlis produces a sweet cantabile sound even at the dizzying high end of the fingerboard … Isserlis and friends entwine Boccherini’s lyrical strands into a felicitous musical conversation: balanced, measured and fully in keeping with his gallant idiom’ (BBC Music Magazine)

‘The range of references is much wider than in other pieces I’ve heard by Ngwenyama—testament to her ability to harness these multiple stylistic strands to convincing creative ends. The Takács Quartet, for whom Flow was written, offer an energetic and engaging account of the work, aided by solo cameo roles for viola player Richard O’Neill and cellist András Fejér, and assisted in no small measure by Ngwenyama’s own personal understanding of the medium itself. Worth exploring’ (Gramophone)