‘A texturally high-definition performance from David Hill and the superbly trained amateurs of The Bach Choir … it’s an electrifying performance: one of those you never knew you were waiting for but can’t imagine now ever doing without’ (Gramophone)

‘The combined forces certainly make a glorious noise, at its most impressive with the extensive Gloria section, while in the Credo with 'et sepultus est' the orchestra, finely recorded, sounds suitably tenebrous and macabre, followed by the choir's startling 'Et resurrexit' … uplifting’ (BBC Music Magazine)

‘From haunting stillness to exquisite plangency, the Latvian Jančevskis's choral music captivates with its sheer intensity. It is superbly sung here by the highly polished Riga Cathedral Choir’ (BBC Music Magazine)

‘Sitkovetsky sings with real passion, and is emotive … she is duly ecstatic in ‘Spring Waters’ and she hits the top notes of ‘How fair this spot’ with beautiful shading of dynamics. Vignoles is at his finest in the shimmering piano colours of ‘Lilacs’, a gorgeous performance’ (Gramophone)

‘These well recorded and beautifully played performances get inside the musical dynamics of these enormously appealing works and in the case of the piano trios make a good case for their having an enduring presence in the repertoire’ (BBC Music Magazine)

‘The impression of this music being taken seriously on its own merits only intensifies when you press play … to say this disc makes the case for Schumann and Mendelssohn standing on their own two feet, away from the music of their menfolk, is something of an understatement’ (Gramophone)

‘Both the Beach and the Elgar quintet—that strange, haunted self-communing of his later years—receive powerful, expressive performances from the Takács Quartet and Garrick Ohlsson’ (The Sunday Times)

‘For me, the outstanding thing here is the coupling, the Piano Quintet from 1907 by American composer Amy Beach. It's Brahmsian in ambition and Romantic range, but hers is an original voice and I don't think I've ever heard the slow movement lingered over with such loving expressivity … Garrick Ohlsson with the Takács Quartet—a really potent partnership. And the power and passion at play in the outer movements means this definitely doesn't come over as the lesser piece alongside Elgar's Piano Quintet in an equally heartfelt performance’ (BBC Record Review)

‘Throughout both opuses, the Takács members and the masterly Garrick Ohlsson (his subtle contribution to Elgar’s Adagio is special) make a dream team of true chamber-music interaction, recognising the privacy of the writing yet making it so communicative. Such fine music and music-making comes highly recommended’ (colinscolumn.com)» More

‘The Takács Quartet and pianist Garrick Ohlsson, without excess or hysterics, plumb every emotional possibility [in the Elgar]. Geraldine Walther’s glowing viola-playing shines in the lyrical slow movement, with violins, cello and piano equal in reply to her yearning melody’ (The Guardian)» More

‘Almost symphonic at times, incredibly complicated and intricately woven … really skilfully wrangled by David Hill who builds up the drama gradually, at the same time as keeping it very, very precise … quite a wonderful thing to listen to’ (BBC Record Review)

‘I couldn't resist this Parry [My soul, there is a country], which places those voices right in the middle of the building and makes you feel like you're there. We're incredibly lucky to have this tradition … the producers on this disc are the dream team of Peacock and Hinitt and, for me, one of their real USPs is how they really do manage these difficult acoustics … it works beautifully’ (BBC Record Review)