„Schon die ersten Töne des Kyrie der Missa „A la dolc' ombra“ lassen aufhorchen: Vom Bass wohlgrundiert, begeistert ein aufgefächerter Klang, der die Verläufe jeder Stimme zwar offen legt, letztlich aber doch von einem wunderbar vollen Ensembleklang geprägt ist. Dass hierzu fünf Männer stimmen ausreichen, erstaunt nach wie vor … Die gute Durchhörbarkeit erlaubt auch bei den insgesamt eher ruhig dahinfließenden Sätzen erstaunliche Spannungsbögen, die jegliche Eintönigkeit verhindert. Und wann hört man schon einmal auch im Timbre so wundervoll aufeinander abgestimmte Stimmen?“ (Fono Forum, Germany)» More

‘Throughout, The Gesualdo Six offer up introspective and expressive readings—literally deep in the case of Brumel’s prayerful Sub tuum praesidium scored for sonorous low voices, and the same composer’s Du tout plongiet / Fors seulement whose bass line fathoms the abyss … it is impossible to find flaw with the ensemble’s matchless singing’ (BBC Music Magazine)

‘All in all this is a treasure trove of works, some little known and rarely performed, in a wide variety of styles and vocal scorings spanning the first half of the 16th century. Beautifully sung and meticulously researched, it will generously repay repeated hearings’ (Gramophone)

‘Rushdie Momen’s choice of pieces is attractively varied. Her playing is gently inflected and she never tries to emulate the vastly different techniques of earlier instruments … what emerges from Momen’s recital is her affection for her chosen programme. The pieces by Byrd and Gibbons are especially rewarding’ (BBC Music Magazine)

‘[Mishka Rushdie Momen] seeks an underlying spirituality to the music. The playing is smoother, the touch lighter, the aim more to comfort the mind than arrest it … less dramatic but more even-tempered and sometimes even delightfully sentimental, Momen’s approach is different but no less satisfying. I admired [Kit] Armstrong’s freedom and flirtation with anachronism, but I find this album exerts a stronger emotional appeal. It makes a fine complement to the earlier one, even with a number of works overlapping. If this is to be core repertoire for contemporary pianists, then bring on the pleasure of comparing and contrasting multiple artists grappling with the same material’ (Gramophone)

‘Piers Lane is unquestionably one of the best and most versatile pianists in the world … there is probably not a better pianist these days than Lane for this kind of program. He keeps the themes ever present while enjoying all the wonderful things the composers do with them … as with all Hyperion releases, the recorded piano sound is superb and the booklet essay is very well written and quite informative. This is a highly recommended disc that will stay on my active listening stack for quite some time’ (Fanfare, USA)

‘The finale, which returns to the major-to-minor-and-back-again motif of the first, is a joyous romp, however arduous the paces first violinist Edward Dusinberre is put through. Richard O’Neill, the new violist, is outstanding here, too, especially in the closing peroration. The quartet takes the unusual step, incidentally, of not omitting the exposition repeat in the first movement … Schubert’s lengths, in this case, really are heavenly’ (Fanfare, USA)

‘These are such lovely little pieces—fifty-five of them—and Mahan’s skill, musicality, delightful ornamentation and emotional sensitivity mean you don’t get tired of them at all. Such a good recording: you could almost reach out and play one of the parts yourself, and if you’re a keyboard player you’ll want to—your fingers will be twitching. It’s a good series, this’ (BBC Record Review)

‘Hamelin is masterful … Hyperion's sound and presentation are admirable as always’ (The Art of Pianists)

‘Kirkman and his singers guide the listener through this absorbing musical landscape with a sureness of pulse, immaculate intonation and brightness of timbre that are endlessly compelling, bringing out all the beauty of Obrecht’s contrapuntal mastery while revelling in the sheer exuberance of the textures … this disc is a very fitting tribute [to the late Philip Weller], which fairly bubbles over with the enthusiasm he had for music and for his fellow creatures. And as a continuation of the Binchois Consort’s continuing probing exploration of music from the 15th century, it’s simply unmissable’ (The Europadisc Review)» More

‘Mishka Rushdie Momen’s versatility, sensitivity and erudition make assessment of this enchanting recording an elusive challenge. First, and most importantly, there is her unalloyed joy in her task; there is nothing drily academic about her artistry, whether musical or verbal. There is always a telling delight in knowledge as well as in confirmation of her early awareness that music would be her life … Momen’s playing brims with zest, clarity and refinement’ (International Piano)

‘Rushdie Momen not only performs these pieces exquisitely, but also writes about them in an evocative way, referring to her role being 'to animate and recreate this music, not merely to describe or reproduce the text' … [noting] that much is known about the Elizabethans but 'often what is missing is people’s true, private feelings and inner worlds.' She has tapped into those feelings and worlds, sharing them in a deeply sensitive and open way through this music’ (WPR, USA)