Mozart: Sub tuum praesidium, K198

“Unreservedly recommended” BBC Music Magazine

“This is a sunny and unpretentious disc which deserves to be among the successes of the Mozart year” Gramophone Magazine

‘What more could you want in these works than a soloist who places every note with joyous precision, moves from one to another so cleanly, and demonstrates at every turn such intelligent but unfussy musicianship? This is a sunny and unpretentious disc which deserves to be among the successes of the Mozart year’ (Gramophone)

“Though clearly designed as a showcase for a young British singer who seems to be getting better by the minute – the presence of a number of excerpts and a double-tracked duet are evidence of that – it is nevertheless strongly focused on Mozart's Salzburg church music, offering in addition to some of the usual suspects a few relative rarities. It is also a reminder of how, even in works which make no attempts at great depth, the young composer was a marvel of fluency, grace and freshness. There are times in his teenage music when you can really feel the enjoyment he took in his own ability; on this disc you can sense it being transferred to the performances.
Emma Kirkby recording some of these pieces a few years back (likewise doing Exsultate, jubilate in the alternative 'flute' version), and while Carolyn Sampson's singing does not sound like Kirkby's, her rounder voice gives the listener much the same kind of pleasure. What more could you want in these works than a soloist who places every note with joyous precision, moves from one to another so cleanly, and demonstrates at every turn such intelligent but unfussy musicianship? She also has wonderful control of dynamics, beautifully demonstrated in the restrained cadenza of Exsultate's slow middle section, or the hushed reprise of the Agnus Dei from the Coronation Mass.
The orchestral accompaniments are ably conducted by Robert King, and if the choral singing is not the most polished you will hear, its lusty commitment certainly adds to the honest pleasure of the performances. This is a sunny and unpretentious disc which deserves to be among the successes of the Mozart year.” Gramophone Classical Music Guide, 2010

“Robert King and his choral and orchestral forces give clean and direct performances in sound that is nicely balanced and benefits from the mellow acoustic of London's Cadogan Hall. The soprano focus of interest is Carolyn Sampson, whose musical sensibility and personality are exceptional. Unreservedly recommended.” BBC Music Magazine, March 2006 *****

“What more could you want in these works than a soloist who places every note with joyous precision, moves from one to another so cleanly, and demonstrates at every turn such intelligent but unfussy musicianship? She also has wonderful control of dynamics, beautifully demonstrated in the restrained cadenza of Exsultate's slow middle section, or the hushed reprise of the Agnus Dei from the Coronation Mass. ... a sunny and unpretentious disc which deserves to be among the successes of the Mozart year.” Gramophone Magazine, May 2006

“A spirited account.” BBC Music Magazine

“As a conductor of choral music Nicol Matt has an impressive pedigree, and these performances going back over a period of a decade or so show in every way that his taste and judgement are consistently secure. This collection is absolutely thorough...taken as a whole this is a set which brings musical rewards galore and in the longer term will remain a valuable resource for anyone who owns it.” MusicWeb International, July 2012

“This is an exceptional labour of love.. The overall sound is remarkably unified and the balance superb… A notable achievement.” Gramophone Magazine, August 1999 (on the Complete Sacred Works)

“Harnoncourt discovers many unfamiliar treasures… Harnoncourt clearly loves every bit of this music… The performances are characteristic of his pioneering work with Concentus Musicus” The Guardian, June 1999 (on the Complete Sacred Works)

“As ever, Harnoncourt is admirably served by his orchestra and his chorus, firm and homogeneous… Among the soloists, Barbara Bonney and Dorothea Röschmann both give pleasure with their fresh, pure tone and refined sense of phrase…” Gramophone Magazine, May 1999 (on Masses 5, 7 & 11)