“From the agitated opening song, “Er ist gekommen,” to the exhuberant Walzer with its funny keyboard interludes, Clara Schumann’s songs give real pleasure. They are somewhat modest in scope, but show considerable compositional range and even when some of the same texts are used, they aren’t derivative of her husband’s settings. Most important, Clara was a gifted composer of melodies and most of the songs have memorable ones. (Try the tender “Liebst du um Schoenheit” from the op. 12, or Beim Abschied.) The piano parts are resourceful and almost never repeat the same accompaniment pattern from song to song. The six-octave Stein fortepiano used in the recording is the actual one that Clara’s father, Friedrich Wieck, bought for her in 1828. Hedayet Djeddikar’s shapely, characterful playing helps the performance, and hearing the composer’s original instrument’s gentle rumblings and tinkly upper register adds to the recording’s atmosphere.”

“… Hedayet Djeddikar plays Clara Schumann’s 1828 Stein piano, a Viennese instrument encompassing six octaves. It has a very lovely sound, much more modern in tone color than the fortepianos of Beethoven’s era, but softer and less bright than a modern instrument. It’s the perfect piano for this repertory…”

“This new Naxos seems promising since it also includes first versions of two of the songs from Op. 13. Moreover it was recorded in the Schumannhaus in Zwickau on Clara’s own fortepiano. A period performance in other words…There is no denying that Clara Schumann’s compositions should be taken seriously and there is a lot to admire and return to on this disc.”

“…Siglo de Oro’s members sing with passion and refinement.”

“Shevchenko plays superbly: the Three Movements from Petrushka are precise and exhilarating; she gets the dry Sonata and Serenade in A just right...but most memorable are 2½ minutes from the ritual close of Symphonies of Wind Instruments.”

“…The Choir of St Mary’s, Edinburgh, has a fine track record in this repertory, and the novelty value of this recital warrants a strong recommendation. The shorter selections are especially well handled, for they don’t tax the singers unduly…I also like Duncan Ferguson’s forthright (dare I say it, un-churchy) approach to the lengthy passages of plainchant.”

“…The past and the present move hand-in-hand in this well-devised programme. Gabriel Jackson’s setting of the Stabat Mater is startling in its concept. The declamatory opening starkly sets the horrifying scene, but the mother’s grief, which is beautifully expressed, is paramount. James MacMillan’s passionate interpretation is very much of the 21st century, although deeply rooted in the past: with this composer you get the best of both worlds. The Marian Consort is an exceptional group. Here you can savour beautiful vocal lines that are given wonderfully controlled, electrifying performances.” *****

“… the thing about Julian Anderson’s music is, the more time and effort you invest into listening to it, the better it gets”  Jeremy Summerly

“…The latest from the six-strong Marian Consort, brilliant discoverers, and exponents, of rare repertoire, is Pater peccavi: Music of Lamentations from Renaissance Portugal: rich, ecstatic.”

“The instrument offers all the orchestral colours and dynamics you could wish for in this repertoire, [and] what else makes this recital particularly appealing is the clarity of texture with which the Rochdale organ is captured by producer/engineer Paul Baxter …”

“… Byram-Wigfield takes it all in his unflappable stride, the opening carefully layered, the control scrupulous throughout…”

“An entire disc of overtures is a bit like enjoying a 7-course tasting menu, and here the results are well worth savouring... a tour de force.” *****

“…Delphian scores yet another choral hit with this exceptional and fascinating collection themed around musical representations of the Virgin Mary. And once again, Merton College Choir is the immaculate vehicle for performances that encompass the old and the new.” *****

“The jutting vocal fanfares of [Weir’s] Ave Regina caelorum set a brightly celebratory atmosphere at the disc’s beginning… The seven-part writing of Hannah Kendall’s numinous Regina caeli is lucidly balanced out by the singers… Of the other works the glowing Magnificat of 15th-century composer John Nesbitt is particularly notable, bringing gleaming work from the sopranos in particular.”

“A fascinating and finely executed collection of anthems and motets… The 35-strong mixed voice choir possess perfect intonation and blend… this is not a disc to be missed.”