“(This) is an overlooked masterpiece of the Russian music literature … and I hope our disc will bring the recognition which it well deserves.” (Mikhail Pletnev) “Psalm 50 made a deep impression on Alexey Khomyakov, whose 1856 poem develops the idea that outward forms of religion are as nothing beside truth and brotherly love …(his) poem inspired Taneyev … a summation of Taneyev’s life and work … (bears) comparison with Beethoven’s Missa Solemnis, especially use of fugues …a compelling piece which Pletnev does well to clarify so successfully …includes a fine solo warmly sung by Marianna Tarassova.” (Gramophone)

[Giant Steps] “perhaps Coltrane’s most playable, memorable, and best-sustained record. The tunes are uniformly marvellous, riffs or steps or even melodies which have become integral parts of the modern jazz book” [MFT] “dominated by his soprano sax … the important thing is that both Coltrane and Tyner reduce the material to a couple of scales and ignore the changes, without forgetting to return to the main theme ..gives the music a suitably endless feel” (Penguin Jazz Guide)

[Symphony 2] “an attractive piece- I am inclined to think the Svetlanov account is finer (than) Rozhdestvensky … Svetlanov plays with great élan, driving the Cossack scherzo on, and drawing almost risky sweetness from the orchestra in the Andante. …the USSR orchestra has much to recommend it: their strings certainly have greater sonority and weight though the brass and wind are not always to Western tastes .. some of the material of the scherzo was actually intended for the First Symphony. Yet the ideas are very engaging … [Overture] “In some ways the most striking is the Overture … beautifully orchestrated, with a lucidity which owes much to Glinka and even outdoes him. It should be better known to us” (Gramophone)

“Chesnokov represents a late flowering of Russian Orthodox traditions in the years before the Revolution … composers sought to renew the style by returning it to its roots in Medieval Slavic chant. Chesnokov excelled in this style, and in his many liturgical works was able to find an ideal balance between tradition and expression. His music was valued for its clarity, both in his voicing of harmonies and in his setting of texts. The Liturgy exemplifies Chesnokov’s approach, using traditional chant melodies and bringing them to the fore, but adding rich layers of harmony. These are made possible by the inclusion of female voices.” (Gavin Dixon 2021)

“Here (Jurowski) offers performances that are near ideal, the electric tension giving the illusion of live music-making. We have had some impressive recordings from this orchestra in the past but this one is among the finest. Tchaikovsky’s Third Suite … Jurowski, maybe influenced by conducting opera and ballet, brings out the surging lyricism …’Elegie’ , the phrasing totally idiomatic. The rhythmic Waltz leads to a dazzling Scherzo, taken at a genuine presto, while the Variations have rarely seemed so attractive, with a thrilling build-up and conclusion. With exceptionally vivid sound, recorded by Dutch engineers in Moscow, this disc cannot be recommended too highly.” (Gramophone)

[Mysliveček] “She is a charming, persuasive advocate … The ECO, too, offer fine support and with a range of tone colours, match de la Vega’s recreative imagination. Pentatone has captured these performances in particularly clear sound … De la Vega offers the first recording of a Concerto in D by Mysliveček, one that displays the utmost craftsmanship and appeal … her fine performance renders it memorable” (Gramophone). [Richter etc] “authentic instrument ensemble The New Dutch Academy has an international reputation, formed of well-established early music specialists … string symphonies by the 18th Century ‘Mannheim school’ composers … Vibrant, energetic and wonderfully secure playing is supported by a sumptuous recording … yet there is no loss of detail in the fast music” (Gramophone)