‘The De Profundis lower-voice choir are something of a sleeper hit—their recordings of Renaissance polyphony in ‘chiavette’ pitches (usually down a fourth from what's usually heard) bring to light neglected gems, especially of Iberian repertoire, and throw new light (and shadow) on established works. Morales’ Requiem is a texturally simple but deeply moving work that benefits from the rich tones that this lower pitch unlocks. His Parce mihi, Domine (that formed the opening track to the Hilliards’ iconic Officium with Jan Garbarek all those years ago) and other motets round out this wonderful recording, which I think could well be their best yet’ (Presto Classical)

‘The choir has a solid presence and a secure core, with a treble sound that is both clear and expressive (try Soriano’s Regina caeli). As in the Venetian disc, the recital’s middle section, compiled with care and discernment, transcends mere novelty value and earns the recording a solid recommendation … I look forward to hearing more from this choir and its enterprising director. After Venice and Rome, where next?’ (Gramophone)

‘Esfahani comes now to these pieces with his own very personal ideas on how they should be presented and performed … there is a real sense in his performances of each prelude and fugue defining its own dramatic space … his choice of tempi is uncontroversial, his shaping of each movement wonderfully lucid’ (The Guardian)» More

‘A wonderful addition to what is already one of the finest discographies of choral music to have appeared in the last ten years. Its theme is different shades of light in music, from the emergence pf the radiant dawn of the album’s title, to the ghostly terrors of a bitter and dark night on the battlements at Elsinore. Musically, there are two noticeable binding threads: plainchant, either as integral part of a composition or as an inspiration, and the superb trumpet playing of Matilda Lloyd, who joins the singers in many of the works. There are two new pieces especially written for the album and they sit extremely well with the other carefully chosen selections … [Burgon's Nunc dimittis] is the best way imaginable to bring this fantastic recital, excellently recorded in All Hallows Gospel Oak, to a close’ (MusicWeb International)

‘Hopefully, the 21-year-old Korean sky rocket Yunchan Lim will never outgrow the key attractions of his piano playing. Take his delicacy, audible in his phrasing and variety of touch and dynamics; qualities abundantly displayed in his second solo album, devoted to Tchaikovsky’s cycle The Seasons … whatever the attraction—March’s fragile hesitations, August’s hurtling momentum, October’s melancholy—the listener should be enthralled by the feelings and colours embedded in Tchaikovsky’s modest character pieces’ (The Times)

‘Now, it seems, Lim feels it is time to reveal a more expressive, intimate side to his playing, and indeed it’s hard to imagine anything more different from the Chopin and Rachmaninov than Tchaikovsky’s suite The Seasons … Lim’s playing is, as you would expect, exemplary’ (The Guardian)

‘The spacious recording acoustic of the London Notre Dame church lends numinosity to the singing and director Charles Cole’s note stresses that the choir’s purpose is primarily liturgical … the long lines of Peccantem me quotidie are impeccably tuned and sustained and the joyful Tu es Petrus makes a highly satisfying conclusion to a fine recital’ (MusicWeb International)» More

‘Wonderfully effective choral writing across four centuries, beautifully blended sound, the recordings as sonorous and radiant as the singing as they explore different shades of light in choral music from the golden glow of a summer evening to shimmering moonlight on calm waters … another outstanding concept album from The Gesualdo Six’ (BBC Record Review)

‘No fewer than twenty-four different swans in music, ranging from the Saint-Saëns original, to Tchaikovsky’s Swan Lake; diversions via Orlando Gibbons’s The silver swan, Schubert’s Ein Schwanengesang, Grieg, Szymanowski and their own compositions. It’s a delight, really—lovely arrangements’ (BBC Record Review)

‘A golden release for a golden milestone: Angela Hewitt reaches her 50th album for Hyperion Records with this final volume in her series of Mozart's complete piano sonatas. The Canadian pianist is on typically engaging form, full of nimble agility, lightly-worn intelligence and musical sensitivity. It's also a thoughtful programme, with shorter pieces tucked among the five final sonatas and a sparkling performance of the Variations on Ah vous dirai-je, maman’ (BBC Music Magazine)

‘Cultivated performances, graced with discernment along every axis: colour, dynamics, rubato, articulation. It will surely appeal to those looking for an even-tempered, unexaggerated middle ground between the forthright big-boned approach found, say, in Emil Gilels’s 1954 Paris K570 and the edgy HIP playing of Robert Levin … the engineers have captured the elegance of [Hewitt's] tone to perfection’ (Gramophone)

‘If Steven Osborne, who is now 54, never recorded another note, his large and varied discography would be the envy of many a pianist. His latest release returns to Schubert, mining a vein that has already yielded riches … here [the last movement of D959], as in the first movement, voicing is exquisite, with the overall sonic terrain sculpted and proportionate. When the presto coda appears like a bolt from the blue, its neat summation leaves one wishing for even more of this spacious rondo. The Moments musicaux speak with a morning freshness throughout, each imbued with its own unmistakably individual identity’ (Gramophone)