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Barry Kilpatrick
American Record Guide, September 2016

The players are so fundamentally good—such stable tone at all times, such ease of tuning and blending with each other—that one suspects a program like this might not have taken long to prepare and record. © 2016 American Record Guide Read complete review on American Record Guide

Rick Anderson
Baker & Taylor CD Hotlist, September 2016

Motets, lamentations, Mass sections, and canzonas are all given the brass treatment and they are all exceptionally beautiful. © 2016 Baker & Taylor CD Hotlist Read complete review

Tom Davoren
Brass Band World, June 2016


There is an overwhelming sense of sincerity present in both the skilfully crafted new arrangements, made by the ensemble’s artistic directors, Simon Cox and Matthew Knight, and the execution of performance, which is characterised by an approach to sound concept and turn of phrase that is seemingly laced with historical consideration and musical purpose… © 2016 Brass Band World Read complete review

Review Corner, May 2016

The music is gentle and reflective and the players perform as an ensemble rather than showing off their individual virtuosity. © 2016 Review Corner Read complete review

David Denton
David's Review Corner, May 2016

The British brass group, Septura, formed around seven principals from the major London orchestras reach their fourth volume which explores the Sixteenth century. They have been a little obtuse by ignoring the wealth of brass music written during this golden era, and have instead arranged choral music by four of the great composers working within sacred confines. All is forgiven for the quality of their playing is so outstanding, and in essence we are listening to a gorgeous and elaborate organ creating the elaborate decoration to a sonorous backdrop of pedal notes. Gabrieli’s Three Canzonas and Motets thrive in Simon Cox’s transcriptions, small trombones used to recreate the sackbuts the composer would have had in his church group. I cannot quite understand why, but Palestrina does not emerge with quite the same level of satisfaction, maybe it moves slower and the use of words is a key factor of the score. Here we have just the Kyrie, Gloria and Sanctus from the Mass. From Lassus’s sacred madrigals, Septura have selected just seven from the complete score of twenty-one, the works very differing moods becoming ideal for a brass ensemble, the Come falda di neve with its very wide dynamics being especially effective. This section is the disc’s most extended, though for me the disc’s ’crowning jewel’ is the Four Motets by the Spanish-born, Tomás Luis de Victoria, the interplay between instruments fascinating in the contrapunctal lines, while a most pleasing vivacity is brought to the final Surrexit pastor bonus. Add a quite gorgeous sound quality and you have an absolute irresistible release. © 2016 David’s Review Corner

The Sunday Times, London, May 2016

Most of the items on this fine Renaissance brass disc are special arrangements of choral music, the exception being three canzonas by Giovanni Gabrieli, adapted for modern instruments by Simon Cox and interleaved with his versions of three Gabrieli motets. There is relatively little change of mood between the animated canzona and the vocal style of the motet. Sacred pieces by Victoria, Lassus and Palestrina all evince a paradoxicaly delightful somber monotony and are beautifully intoned. © 2016 The Sunday Times

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