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Korngold, Adams, Violin Concerto Ilya Gringolts, Copenhagen Phil

Gringolts’s coupling is another compelling performance, an account of the Korngold Concerto that marries sweetness and wit to a brand of sentiment that never stoops to mere ‘Heifetz-imitation’ – always a temptation in this piece. His account of the central ‘Romance’ is among the loveliest we’ve had in recent years, and everywhere you sense a keen musical intelligence, minimizing the ‘corn’ while maximising the ‘gold’. The sound is excellent, too, the soloist sensibly aligned with the orchestra rather than eyeballing us from close by.”


“John Adams is a cult figure, but his “hypermelodic” Violin Concerto has melodies that tend to go in one ear and out of the other. It meanders pleasantly reminiscences of Bartok and Stravinsky, but the genius of this coupling is in reversing that cliché about the Viennese composer: “more corn than gold”. Gringolts, with superb technique and focused tone, is well served by the orchestra and both conductors.”

– Hugh Canning, The Sunday Times (18 June 2017)

“…the interest lies in the orchestral writing [of Adams’ Violin Concerto] – superbly realised here by the oh-so-hiply named Copenhagen Phil under its principal guest conductor Santtu-Matias Rouvali and recorded with real luminosity … [Gringolts] keeps himself on the right side of indulgence [in the Korngold Violin Concerto]. His tone is sweet, but with an edge of tart freshness; his bowing is lithe, and interpretively he finds depths behind the music’s glitzy exterior without recourse to exaggeration … the orchestra makes a warm and supportive sound.”

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Connotations, Mei Yi Foo

“The thread running through this disc, brainchild of pianist Mei Yi Foo, is that all three works are hiding something behind the notes. With trumpeter Philipp Hutter and the pleasingly lean-sounding Britten Sinfonia, Foo makes light work of the Concerto for Piano, Trumpet and Strings, in which Shostakovich, that compulsive player of musical hide and seek, tries different styles for size. Berg’s Chamber Concerto for Piano, Violin and 13 Wind Instruments, featuring violinist Bartosz Woroch, is a less arch but still mischievous piece; a birthday present for Schoenberg, it includes both their names plus that of their Second Viennese schoolmate Webern encoded in the music. Finally, there’s Saint-Saëns’ Carnival of the Animals, portraying not only the titular creatures but also his colleagues in the French music world; Foo and Ashley Wass make a lovely mess of the Pianists movement.”

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Hélène de Montgeroult - Edna Stern

“…it [the album] uncovers the strangely paradoxical distance, like a drawn cross bow, between the science of the counterpoint, and the art of the rubato in this musician’s work.” – Figaro, February 2017

“Chopin’s C minor Étude sounds less Revolutionary after you’ve heard de Montgeroult’s swirling Étude No 107, which anticipates it by 20-odd years.”
– The Guardian, January 2017

Perfumed and poised in equal measure…
… A sprightly, smiling joy in her playing… …historically valuable…
– Pianist Magazine

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THERE IS NO ROSE... Christmas in the 21st Century

“This one is outstanding: the group produces exceptionally pure-toned singing, and the engineering is alluringly atmospheric. The singers avoid vibrato, and this produces performances of unusual textural clarity, freshening even favourite carols like The Holy and the Ivy.”
– BBC Music Magazine, Christmas 2016

“Equally appealing is this wondrous collection from a superb Danish choir … Richard Causton’s haunting Cradle Song is exquisite, and we get the better-known O Radiant Dawn by James MacMillan. Alan Bullard’s And all the stars looked down is magical, and there are three contrasting arrangements of the traditional German carol Es ist ein Ros. Every track a winner, the whole disc beautifully engineered.”
– The Arts Desk, December 2016

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“Here is a genuinely imaginative charity record … Thirteen composers have each contributed a new piece to correspond with a chapter of Alice in Wonderland, linked by Louis de Bernières’s new narration, which is delivered with delicious dryness by Maureen Lipman.”
-The Guardian, December 2016

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Complete Beethoven Symphonies Vol.II - Copenhagen Phil, Lan Shui

“It’s more like chamber music played by a full orchestra, and it’s thrilling, energetic and refreshing”
– Classic FM (Album of the Week)

“Sparky, well-articulated playing, the period brass adding a distinctive colour. Crisp, clear, recording … Life-enhancing stuff.”
– The Arts Desk

“Lan Shui continues his Beethoven cycle on the same high level and with the same intriguing new ideas as in the first set.”
– Pizzicato, 5*

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TREBLESOME - The Temple Church Boys’ Choir

“The presence of [the choir’s] famous boy soprano Ernest Lough is never far away from this music, particularly when soloist Ebube Chiana is singing; surely a boy with a bright future … Britten’s Missa Brevis in D and the great Ceremony of Carols, both sung with admirable precision and classy musicianship”
– The Guardian, 4*

“The trebles of London’s Temple Church sing this imaginatively mixed programme with verve and energy. Rodney Bennett’s The Insect World is a charming vehicle for their sweet tone.”
– BBC Music Magazine

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Romeo and Juliet - Veit Hertenstein, viola

“A fascinating and rather enchanting album from violist Veit Hertenstein … puts the spotlight on this often-neglected instrument, as well as reimagining the vivid orchestral colours of the ballet in a more intimate, chamber-music form.”

– Presto Classical

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William Howard Plays Sixteen Love Songs

“A beautiful new recording of Sixteen Love Songs … how sensitively and expressively William Howard performs” – John Brunning, Classic FM

“This poised, sensitively-played programme of ‘songs without words’ opens with Mendelssohn’s On the Wings of Song, but soon explores less well-charted waters.”
– BBC Music Magazine, 4*

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Barry meets Beethoven - Gerald Barry, Stephen Richardson, Chamber Choir Ireland, Crash Ensemble, Paul Hillier

“The string quartet First Sorrow journeys from the world of viol consorts (a private passion of the composer’s), through intense vibrato, to an otherworldly hymn, sung as well as played. Strong performances.” – The Irish Times, 5*

“Superb work here from Chamber Choir Ireland supporting the verbally clear Stephen Richardson, and they make much of Barry’s own peculiar minimalism in the choral anthems … Full marks to everyone, including the Crash Ensemble, conductor Paul Hillier and the recording team.” – BBC Music Magazine, Double 5*

“A welcome addition, this, to the Gerald Barry discography … Showing Beethoven in all aspects, cantankerous as well as sympathetic, the two works present a different kind of heroism, that of the everyday … The performers, all long-standing Barry interpreters, are in fine form” – Gramophone

“Under Paul Hillier, Chamber Choir Ireland tackle each of the scores as if Barry’s out-there settings and markings were the most natural thing in the world, and make them sound as if they were exactly that. Tough, committed singing, done with vivid grace.” – Choir and Organ Magazine, 4*

“The performances from Stephen Richardson, Chamber Choir Ireland, the Crash Ensemble and Paul Hillier are exemplary and invigorating … the opening Beethoven is stunning and well worth acquiring the disc for.” – Planet Hugill

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Sébastian Jacot - Premiere! Carl Nielsen International Flute Competition 2014

“[Sebastian] has recorded the Nielsen Flute concerto in something very close to a perfect interpretation.” – Politiken, 4*

“CD of the Week August 2016” – Danish Radio

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La Voix - Callum Smart, Richard Uttley

“…in the hands of Callum Smart and Richard Uttley [Poulenc’s sonata’s] vocal quality is never in doubt … a rising star of the concert platform”.
– The Observer, 4*

“Smart’s sinewy, silky tone comes into its own in Tzigane, in which the long unaccompanied ‘improvisation’ sounds for once like an introspective meditation rather than the usual excuse for lashings of virtuoso fireworks”.
– The Strad

“Smart and pianist Richard Uttley are compelling advocates, capturing the impish humour and the underlying profundity … The long-breathed lyricism of Fauré’s First Sonata frequently finds Smart soaring majestically with Uttley rippling away incisively underneath”.
– BBC Music Magazine, Double 4*

“[Smart] plays a dark, whimsical and biting bow … [Ravel’s Tzigane] is inspired, with a furious energy … a French programme, served with panache.”
– Artamag

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Pyotr Ilyich Tchaikovsky (1840-1893)

“A first class ensemble” – David Mellor, Classic FM, Critic’s Choice

“A gorgeous string sound” – John Suchet, Classic FM

“Their richly confident playing is startlingly good: taut, precise and immaculately phrased” – Stephen Pritchard, The Observer, 4*

“a dazzling debut disc … airy nimbleness matched with richness of sound” – BBC Music Magazine, Orchestral Choice, 5*

“Their instincts for Tchaikovsky’s melodies and surging passions are excellent” – BBC Radio 3

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Tchaikovsky - Smetana Piano Trios Trio con Brio Copenhagen

“sparkling … the Smetana is brief but deeply heartfelt, the beauty of its bleak majesty perfectly captured by the Danish players. Recommended.” – The Guardian

“both explosive and exquisitely intimate – aspects that this performance delivers with compelling panache.” – The Strad

“an excellent performance all round, showcasing an airtight ensemble, but also these Danish-based musicians’ flair for coloristic detail.” – Gramophone

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J.S. Bach - Partitas Nos. 1,2 & 6 - Edna Stern

‘Stern plays Bach like she breathes, and it is astounding in its obviousness and beauty.’ (Christophe Huss, Le Devoir, September 2015)

“… an unabashedly Romantic and ravishingly pianistic attitude to this composer that has long passed into history. Few modern pianists can pull off such an approach, but Stern’s sincerity, conviction, and masterful control of the concert grand was both disarming and mesmerizing.” (Jed Distler, Classics Today, October 2015)

“Edna Stern manages to put across an articulate argument with nonchalant ease, and without contortion and harsh lighting illuminates the score….[The recorded sound]…supports Stern’s filigree work as a peerless colourist and ardent musician, and places her in the highest reaches of the discography of this music.” (Philippe Venturini, Classica, February 2016)

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Geminiani and Handel Sonatas Andrew Appel and Loretta O'Sullivan The Four Nations Ensemble

“the players allow Geminiani’s unique lines to take shape, to the frequent surprise and delight of the listener. The opening Andante feels as if Loretta O’Sullivan were singing through the cello, while in faster, more ornamented movements the collaboration between the cello and the harpsichord is unified and witty.” – Early Music America

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Harold in Italy, Berlioz/Liszt, Jennifer Stumm, Elizabeth Pridgen

“Jennifer Stumm’s playing is remarkably refined, yet with a wide expressive range” (Gramophone Magazine)

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Callum Smart Debut - Grieg, Chausson, Franck, Callum Smart, Gordon Back

‘…an exuberantly assured debut’ (Christopher Dingle, BBC Music Magazine)  

‘…he’s already a very accomplished violinist, performing … with confidence and aplomb…’ (Duncan Druce, Gramophone Magazine)

Callum was also named as a BBC Music Magazine’s ‘Rising Star Great Artists of Tomorrow’ in the February 2014 edition. Click here to read the full interview with Jeremy Pound.

‘… outstanding in its unique sequence and profile of a superb young player.’
(Andrew Parker, International Record Review)

‘… a constant blend of freewheeling rhapsody and musical purpose…’
(Tim Homfray, The Strad: The Strad Recommends)

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‘It is difficult to point to an orchestral ‘Pastoral’ more moving than this…’ (International Record Review, November 2012)

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‘Excellent disc… searching intelligence … beautifully phrased and voiced…’
(Calum MacDonald, BBC Music Magazine, February 2012) 

‘SUPERSONIC’ award: (Pizzicato, January 2012)

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BBC Music Magazine:

CD of the Month

Classical Music Magazine:
December 2011
Editor’s Choice

The Independent: October 1-7, 2011, Album of the Week

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BBC Music Magazine:
November 2011

Classic FM Magazine:
October 2011

The Independent:
August 27, 2011
Album of the Week

‘The young Georgian contender finds an edge of fire in the Liszt B-minor sonata and a deft caress in his B-minor ballade…’ (Norman Lebrecht, CD of the Week)

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The Sunday Times:
April 24, 2011

The Daily Telegraph:
May 5, 2011

‘Definitive performances of ultimate beauty. My Disc of the Year.’ (Musicweb.com, July 2011, Recording of the Month)

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‘…Mogensen is amazing… This is some of the most persuasive music making you will ever hear…’ (Norman Lebrecht’s CD of the Week, March 27, 2011)  border=

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The Strad recommends:
November 2010
Click here to read the complete review

‘… all you want to do when the disc ends is play it again…’ (Norman Lebrecht CD of the Week, August 8, 2010)  border=

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‘…gripping performance.’ (The New York Times, October 31, 2010)


‘…real sensitivity.’ (The Observer, May 16, 2010)

‘…Something more than music went into the making of this album.’ CD of the Week, Norman Lebrecht, April 19, 2010) 

The Times:
May 14, 2010

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‘… the Conchord Ensemble plays with an aplomb, sensibility and purposefulness…’  (Geoffrey Norris, The Daily Telegraph: 1 May 2010
CD of the Week)  border=

‘…highly entertaining, played with style and verve.’ (The Observer, 25 April 2010)

‘The London Conchord Ensemble puts us all in debt in offering this repertoire’ (International Record ReviewJune 2010)

Classic FM Magazine:
July 2010

June 2010

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Classic FM Magazine:

‘…my favourite Christmas choral disc of 2009.’ (Choir & Organ, November/December 2009)

‘…an exhilarating mix of Christmas music from all periods and countries.’ (Birmingham Post, 5 November 2009)

‘… The standard both of singing and playing is absolutely first rate throughout the programme.’ (John Quinn, Musicweb-international.com, 9 November 2009)


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Diapason Magazine:
July-August 2011

Gramophone Magazine:
October 2009
Editor’s Choice

Classic FM Magazine:
November 2009
Editor’s Choice

BBC Music Magazine:
November 2009


‘…one of the great recordings of Die Schöne Müllerin.’ (“Cherwell”, Oxford University)

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Diapason Magazine:
July-August 2011

BBC Music Choice:

‘Hotter than Heifetz?’ (International Record Review, November 2009)

‘really outstanding violin playing’ (Mail on Sunday, 18 October 2009) 

‘unfailing beauty and clarity of tone’ (OZartsreview, 1 November 2009)

‘Trusler takes a nostalgic route, finding exquisite love and pain in Korngold’s yearnings for a vanished Vienna.’ (Norman Lebrecht, Lebrecht CDs of the Week, October 2009) 

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‘Sumptuously engineered and glowingly played, this recital disc simply oozes class…’ (The StradApril 2007, Paris, Strad Selection of the month)

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The Daily Telegraph:
13 January 2007
Classical CD of the Week

The Strad:
January 2007
Strad Selection of the month

‘… dazzling playing…’ (GramophoneDecember 2006)

‘It’s all life-affirming, wonderful music…. It’s fun time in the style of Marshall…’ (Manchester Evening NewsNovember 2006)

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November 2005

Independent on Sunday:
November 2005

Classic FM Magazine:
January 2006

The Pity of War was also chosen as one of the week’s 5 best CDs by the Observer.

‘A powerfully evocative set’ (Daily TelegraphNovember 2005)

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