Johann Sebastian Bach

“Manze projects a highly developed sense of fantasy in his interpretations and, for the most part, it proves immensely effective.” Gramophone Classical Music Guide, 2010

"Boasting a distinguished discography of 17-century German sacred music, Cantus Cölln takes a leap forward to Bach's initial forays into the cantata....Cantus Cölln is the undisputed master..." Gramophone

"Philippe Herreweghe is possibly the very best Bach choral director." Early Music Review

"[Manze and Podger] allow the poetry of Bach's music to unfold in a comfortably measured, lucidly punctuated and eloquently inflected way." - Gramophone

“Manze is a violinist with extraordinary flair and improvisatory freedom, the Grappelli of the Baroque... [the ensemble has] unparalleled energy, an irresistibly bounding pulse and sparkling articulation from top to bottom.” BBC Music Magazine

“Everything has been deeply considered. Everything works. Hewitt makes a beautiful, limpid sound; her ornaments are exquisitely precise as well as sounding natural; she uses the subtle shadings and variations of volume possible on the piano without swamping the music. Technically the paying is faultless ... superbly poised, light and joyous. Indeed, that would sum up the entire set” Classic CD

“If Bach is to be played on the piano, this is the kind of way to do it. Inherent in all Hewitt's playing is a rhythmic vitality, always under control, that sweeps you along with its momentum, subtly varied articulation, dynamics that follow the natural rise or fall of phrases without exaggerations, an appreciation of Bach's harmonic tensions, an ability to differentiate between the strength of contrapuntal lines, and an unfailing clarity of texture.
This is a sane and sensible interpretation, deeply musicianly and devoid of eccentricity.
Her attitude, rather like Toscanini's, is to accept the text com' è scritto and then to make legitimate adjustments, so we get double-dotting and assimilation of rhythms. Technically she's immaculate, with the cleanest possible ornaments.
In the great E minor Sarabande Hewitt is justifiably emotional, without becoming soggy: only in the first half of the A minor Allemande is there a hint of coyness. No, the whole disc gives unalloyed pleasure.” Gramophone Classical Music Guide, 2010

“A beautiful disc of sacred motets from one of this country’s finest choirs” Classic FM Magazine