‘O’Donnell’s version of the Parry is the standout, and … the other pieces, especially the Wood, make this an excellent disc overall and a worthy addition to the Westminster Abbey discography’ (MusicWeb International)

‘The performance of the Nash Ensemble is exemplary, especially the pianism of Simon Crawford-Phillips in the two trios. Indeed, this is a performance that sheds new light on this music as it exhorts the romantic nature of the music. This is a recording that makes you listen to the music for its own merits, rather than as curios by female composers. Natasha Loges's booklet essay is excellent and informative, and the recorded sound is warm and friendly whilst up to Hyperion’s usual very high standard. A recording which is highly recommended, one which offers the three works in some of the best available recordings of them, especially when presented in this generous coupling’ (MusicWeb International)» More

‘Howells’s ‘Severn Mass’ is an unquestionable masterpiece and an extraordinarily challenging work to perform. It is presented here newly edited and authentic, and David Hill and his forces provide us with a superb reading’ (MusicWeb International)

‘This is a significant release for which excellent sound is a bonus.’ (Classical Source)» More

‘It goes without saying that the presence of Mahan Esfahani on [Hyperion's] roster has much to do with this issue—he is after all the doyen of harpsichord provocateurs and his questing spirit is once again curtly described in his typically bracing, amusing booklet note … the electroacoustic halo [in Intertwined Distances] frequently seems beautiful and eerie, evoking by turn the sounds of bells, traffic, great gothic spaces, or distant ships and aeroplanes. There are periods when the harpsichord seems to completely duck out of the action. Roughly halfway through during a period of palpable stasis, a massive tsunami of harpsichord sonority arises and builds—huge, disconcerting cluster chords and chambers of sound where one does actually fear for the instrument. The Hyperion engineers capture the lot in thrilling detail … Programme commun «Musique socialiste?» is taut and exhilarating—and it’s the highlight of a provocative but timely disc whose appeal seems broader than one might expect—as I write it’s number 12 in the official Classical Charts! It represents a bold and smart move by Hyperion, a massive leap of faith in their harpsichord superstar. He doesn’t disappoint’ (MusicWeb International)» More

‘This is Cinquecento’s twelfth album for Hyperion, and notwithstanding the unfamiliar repertoire here I don’t think I have heard them sound more radiant. After sixteen years they seem to be hitting their peak. There is a naturalness to the singing here which is as relaxed and instinctive as it is polished. Everything is seamless. Their sound seems perfectly tailored to the warm, rounded acoustics of the monastery at Pernegg in the far north of Austria. The clarity and unanimity of their diction is especially remarkable given their multinational line-up (the five singers featured here hail from Austria, Belgium, Britain, Germany and Switzerland), the confidence with which this hitherto little-known music emerges is testament to what must be fastidious and intensive preparation. Regardless of anything else, the new disc incorporates 71 minutes of fabulous singing … if Cinquecento’s recorded catalogue amounts to a plea on behalf of the underdog, long forgotten figures such as Regnart, Lupi, Guyot, Schoendorff and now Johannes de Cleve could scarcely have imagined such polished advocacy for their work. The group’s performances on this new disc raise the bar once more for this long unsung repertoire. The Hyperion recording is predictably unimpeachable’ (MusicWeb International)» More

‘This release highlights some of the many virtues of this extensive series; excellent and interesting repertoire in fine recordings alongside well presented liner notes. As usual, the programming of this disc is intelligent and well considered. Rubbra and Bliss were close friends (the liner has a lovely photograph of the two composers together) expressing mutual admiration but these two works are about as aesthetically diverse as they could be. The Bax makes a generous bonus and of course Bax preceded Bliss as Master of the King/Queen's Music. The revelation here is the Rubbra which finds an ideal interpreter in Piers Lane and it emerges as a powerful indeed profound work’ (MusicWeb International)

„Eindrucksvoll und nachdrücklich macht der Cembalist damit klar: sein Instrument kann deutlich mehr als bloß Barock und Basso continuo. Ein sehr empfehlenswertes Album für alle Neugierigen!“ (WDR 3)

‘Gerhardt, one of the finest before the public, plays both works with an intensity, bravura and scrupulous attention to the score, honouring Rostropovich’s championship of these masterpieces without copying them. He finds a lyrical core to the music of loss that marks the G major work, its opening slow movement balanced by two allegrettos, the finale dissolving into a D held low. Fascinating complements to Rostropovich’s own, highly personal accounts’ (The Sunday Times)

‘Since their inception, Cinquecento have shone a light on the Imperial Habsburg court, which hitherto had warranted barely a metaphorical footnote in music history. Thanks to this Vienna-based ensemble, we now know that the court boasted some exceptional composers … while the album’s tenor is undeniably solemn, their sonority, soft and intimate yet full, gives real pleasure. Of all their recordings devoted to ‘minor masters’, this strikes me as one of the finest’ (Gramophone)

'Je moet ervan houden … De Profundis gééft heel veel: een warm rijk geluid, durf, ziel én zaligheid … Ik ben fan' (Luister, Netherlands)» More

‘Fading is, happily, a triumph on multiple fronts … these performances are superb: precision, warmth, power and delicacy united in an utterly beguiling whole, all the while maintaining perfect definition as each vocal tonality inhabits its own sphere. This is further enhanced by a very high-quality recording from St George’s Church in Chesterton, Cambridge … its glorious acoustics are on show in spades here, with a rich, thick presence and just the right amount of reverberation for these glorious voices to soar heavenwards’ (Limelight, Australia)» More